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KARATE SCIENCE
DYNAMIC MOVEMENT
J. D. SWANSON, PHD
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Copyright ©2017 by John-David Swanson
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Name: Swanson, J. D. (John-David), 1973- author.
Title: Karate science : dynamic movement / J. D. Swanson. —
Description: Wolfeboro, NH USA : YMAA Publication Center, [2017] | Includes bibliographical references and index.
Identifiers: ISBN: 9781594394591 (print) | 9781594394607 (ebook) | LCCN: 2016962683
Subjects: LCSH: Karate—Training. | Karate—Physiological aspects. | Human mechanics. | Biomechanics. | Martial arts—Training.
| Martial arts—Physiological aspects. | Hand-to-hand fighting, Oriental—Training. | Hand-to-hand fighting, Oriental-
Physiological aspects. | BISAC: SPORTS & RECREATION / Martial Arts & Self-Defense. | SCIENCE / Applied Sciences. |
SPORTS & RECREATION / Training.
Classification: LCC: GV1114.33.T72 S93 2017 | DDC: 796.815/3—dc23
 
The author and publisher of the material are NOT RESPONSIBLE in any manner whatsoever for any injury that may occur
through reading or following the instructions in this manual.
The activities, physical or otherwise, described in this manual may be too strenuous or dangerous for some people, and the
reader(s) should consult a physician before engaging in them.
Warning: While self-defense is legal, fighting is illegal. If you don’t know the difference, you’ll go to jail because you aren’t
defending yourself. You are fighting—or worse. Readers are encouraged to be aware of all appropriate local and national laws
relating to self-defense, reasonable force, and the use of weaponry, and to act in accordance with all applicable laws at all times.
Understand that while legal definitions and interpretations are generally uniform, there are small—but very important—
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nor the publisher assumes any responsibility for the use or misuse of information contained in this book.
Nothing in this document constitutes a legal opinion, nor should any of its contents be treated as such. While the author believes
everything herein is accurate, any questions regarding specific self-defense situations, legal liability, and/or interpretation of
federal, state, or local laws should always be addressed by an attorney at law.
When it comes to martial arts, self-defense, and related topics, no text, no matter how well written, can substitute for professional
hands-on instruction. These materials should be used for academic study only.
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TABLE OF CONTENTS
Foreword by Robin Rielly
Foreword by James Field
PART I
The Techniques and How to Do Them
CHAPTER 1: An Introduction and How to Use This Book
CHAPTER 2: The Four Fundamental Requirements of Martial Arts
CHAPTER 3: With What and How Do I Make a Hitting Surface?
CHAPTER 4: Stances, the Body Postures of Karate
CHAPTER 5: The Dynamics of Stances
CHAPTER 6: Tsuki: Thrusting Techniques
CHAPTER 7: Keri: Kicking Techniques
CHAPTER 8: Uchi: Striking Techniques
CHAPTER 9: Uke: Blocking Techniques
CHAPTER 10: Kuzushi: Techniques of Breaking Balance
PART II
Principles of Karate Techniques
CHAPTER 11: How the Body Works: Joints and Muscles
CHAPTER 12: How the Body Works: Balance
CHAPTER 13: Biomechanics: How Do I Hit Something Hard?
PART III
Internal Movement of Karate
CHAPTER 14: If I Jiggle My Hips, Do I Hit Someone Harder? Hip Vibration
CHAPTER 15: Hit Them Like a Steam Train: Using Body Shifting to Generate Translational Power
CHAPTER 16: Rockin’ and Rollin’: Rotation of the Body to Create Power, Coordination of Movement, and
Superior Body Position
CHAPTER 17: Breathing: The Key to Coordination
CHAPTER 18: How Do I Hit Things and Not Fall Over? Keage, Kekomi, and Ate
CHAPTER 19: Is There Equipment That Can Help Me?
CHAPTER 20: Conclusion
Acknowledgments
Index
About the Author
About the Illustrator
 
FOREWORD
Robin Rielly, eighth dan, International Shotokan Karate Federation
It gives me great pleasure to see this book in print. In today’s market there is no
shortage of books on karate, many by well-known experts in the field. This
work is different. For the first time we have the observations of a karate
instructor who is skilled in both the scientific field of biology as well as in
karate. Professor J. D. Swanson is a longtime practitioner of karate and a
certified instructor, judge, and examiner for the International Shotokan Karate
Federation. He brings to the discussion a wealth of information that will help
the karateka understand how and why the body moves in certain ways during
the performance of stances, punches, strikes, blocks, and kicks. The book
offers fresh insights into how the various muscle groups interact during the
execution of these movements. In addition, the reader will be made aware of
various methods of training the body that will improve karate techniques from
both mental and physical approaches.
This work will be a significant resource for both instructors and their
students. Instructors will have the scientific rationale available for the teaching
of karate movements and how their students must perform them. Students will
have an additional source of information to supplement their regular
instructor’s lessons.
Many instructors are proficient in teaching movements to their students.
However, for a good number, their proficiency is based on constant repetition,
rather than a thorough understanding of how the body actually works. Professor
Swanson’s approach fills a much-needed gap for instructors and students alike.
In order to utilize one’s body efficiently, it is necessary to understand the
factors that generate strong, fast, and correct movement. Throughout the book,
Professor Swanson gives valuable suggestions to help maximize body
efficiency.
In all, I believe that this is one of the most important books on the practice
of karate that has been published in recent years. The International Shotokan
Karate Federation has continued to grow and prosper through the efforts of
both the older generation of instructors and the younger ones who continually
strive to improve our knowledge as we continue to develop and grow into the
twenty-first century. Thanks to the work of instructors such as Professor
Swanson, we will continue to make progress in our study of karate.
ROBIN L. RIELLY
Eighth dan, ISKF
Member, Shihankai (ISKF)
Chairman, ECSKA Technical Committee
 
FOREWORD
James Field, eighth dan, International Shotokan Karate Federation
In karate a straight punch is executed with snap efficiency and shoots straight to
the target. This book by J. D. Swanson does the same. Chapters are short,
efficient, and to the point. They have solid content and make an impact.
Dr. Swanson approaches the subject of karate from a unique personal
perspective that is both thoughtful and thought provoking. Here’s a sample
description of kiba dachi (or horse-riding) stance: “The feeling is as if the
practitioner is pushing on a flexible bow braced down the inside of the leg and
attached to the hip and foot. As the practitioner pushes down, the bow bows
outward, creating the bend in the knee. Kiba dachi is formed by two of these
bows pushing toward each other, hence the stability of the stance.” Now, that’s
a simple description that’s clear and easy to picture, yet I’ve neverheard it
before in my fifty-plus years of practicing Shotokan karate. I believe it’s a
really helpful explanation.
Whenever possible, Dr. Swanson attempts to explain the why behind karate
body positions and body dynamics (important and often neglected information
in karate books). For example, he doesn’t just say to keep the back leg straight
but not locked in a forward stance, but adds why: if the rear leg is locked, “this
will lift the rear hip and break the lower back posture by lifting the buttock up
and out.” Or, “if the technique requires a bend in the elbow, then a ninety-
degree angle is best” because “the right angle presents the strongest position
for the biceps to keep the arm bent due to utilizing the maximum number of
filaments interacting in the muscle.” The rules of biomechanics and physics as
they apply to karate are frequently employed here.
From the description of how to make a fist to the discussion of how to
reconcile the “seemingly paradoxical F = ma equation used in karate,” there is
something here to be learned for practitioners at every level.
This book is well researched, well illustrated, and should prove an
excellent tool in promoting the understanding of the art of karate.
I am happy to recommend it.
JAMES FIELD
Eighth dan, ISKF
Member, Shihankai (ISKF)
Director, ISKF Technical Committee
Director and chief instructor, ISKF Southwest Region
 
PART I
The Techniques and How to Do Them
CHAPTER 1
An Introduction and How to Use
This Book
Introduction
The Asian martial arts have a rich history and present a variety of techniques
and methods that can be used to incapacitate an opponent. The techniques used
in the unarmed martial arts of Asia are of a much greater variety than many of
the Western methods. Okazaki Sensei, one of my instructors and one of the
world’s most senior Shotokan karate instructors, tells the story of when he first
came to the United States in the 1960s. It was arranged that he fight in a
demonstration match in Philadelphia against a boxer. While the parties
concerned were discussing the details of the fight, they were asked to
demonstrate the types of techniques that would be used. The boxer gave a
masterful demonstration of hooks, jabs, uppercuts, and crosses, while Okazaki
Sensei demonstrated punching, striking, blocking, and kicking techniques from
karate. The promoters immediately stepped in and requested that Okazaki limit
his techniques to punches. Okazaki Sensei declined, stating that karate was the
sum total of all of these techniques, and it would not be a true karate
demonstration without them. The fight was canceled. While the outcome of the
match could have gone either way, Okazaki’s point was clear.
Okazaki Teruyuki, tenth dan, ISKF.
This book is about those techniques and, more importantly, my current
interpretation of how to do them. While the techniques have been described
many times, not much has been written about the technical detail behind the
“how” of their performance or the way they “feel.” In my own training, I have
observed that much of this information is never taught, either on purpose or
simply because the concepts were never taught to the instructor. This book
attempts to rectify this. I will talk about the important parts of the body, how
they need to be contracted or relaxed at the correct place and time, and the
biomechanics involved. I have attempted to explain things in the same way I do
in my own dojo, in a simple and clear manner. It is my hope that this will get
you, the reader, thinking and looking deeper into your own martial arts training.
One important caveat is that the concepts discussed in this book represent
my current way of thinking. Since I have been writing the first drafts of this
book, I have learned more and more each day. My understanding and practice
of karate, as for any serious student of the art, will inevitably evolve and
change for the better. It is my sincere hope that readers of this book will learn,
challenge themselves, and progress in their lifelong study of karate.
Differences between Asian and Western Training Methods
Many of my peers who have trained at length in Japan comment that training
consists of simply doing thousands of repetitions in class with little or no
instruction. The student does without question what the instructor commands.
Judging from the ability level of these students, it is clear that this method
works. However, it requires a complete acceptance of the Asian way of doing
things. This way of training leads to an understanding of karate at the level of
physical movements; that is, students may not know how a movement is done,
but there is certainly no argument that they can do it.
Many of the early instructors from Japan found that Westerners did not take
to that type of training. Many students quit after a short time. Okazaki Sensei
relates that if he hadn’t modified his training methods from what they were in
Japan, his clubs would have dissolved. Unfortunately, language barriers made
it hard for some of the Japanese instructors to communicate; therefore,
explanations sometimes were not communicated well. This in turn led to some
common technical mistakes that have been perpetuated in Western countries.
These mistakes, which varied from organization to organization, could have
arisen from several sources. The senior instructor could have overemphasized
a particular concept, leading to the student thinking the exaggerated movement
was the correct way to execute the technique. The instructors may simply have
had flawed technique. Finally, they may have had a personal way of
performing a technique that was correct for their body type that could have
been passed to the student. A mistake can often be traced back to an original
instructor, and even to a particular period of an instructor’s teaching career.
Fortunately, Westerners have taken what they have learned from their Asian
instructors and reflected very deeply and thoroughly on how karate is done. In
addition, many of the native English-speaking karateka who have significant
experience training in Japan have come back to their home countries and
articulated what the first Japanese instructors could not. Also, there are many
Westerners with a lifetime of experience. For all these reasons, there is now a
wealth of sources for understanding karate. You can even make a strong case
that in exploring karate unburdened by the baggage of cultural tradition,
Western karateka have advanced karate from where it was in the 1960s.
Arguably the best example of this is in kata application or bunkai. While many
theories exist as to the proposed “initial intent” of kata bunkai, unrealistic
applications were taught through the 1960s to 1980s. However, the application
of kata has been revolutionized by the work of Schmeisser, Abernethy, Ubl,
and others, which has led to a renaissance in our understanding of kata and
how it can be applied in realistic situations.
With so much information available, it is very important not to confuse
cerebrally understanding a karate technique with doing it. While long-term
training in Japan involves a definite “it factor,” this clearly comes from the
rigorous, sustained training and immediate, abrupt feedback students receive.
This method requires, however, a particular mindset and can take a very long
time because there is no real direction as to what is correct. The student
receives only visual guidance and nothing about the feeling or the how of the
technique. On the other hand, if karateka spend a lot of time seeking
explanations with not enough doing, they will not progress, because while the
mind may understand, the body will not perform properly due to the lack of
repetition. Therefore, it is my feeling that there must be a balance between
understanding and physical training. And while the scale should always be
tipped to the training side, a student should work to understand how a
technique is done.
The analogy I like to use for this is basketball playerspracticing free
throws. If they simply practice the physical act of throwing the ball into the
basket, they may do well, but only after a time. Likewise, if they visualize in
their mind the act and feeling of throwing the ball into the net, they will also
succeed somewhat. But they will achieve the best and fastest results if their
practice incorporates a combination of both actually throwing the ball and
visualization. The cerebral part of the training allows the student not only to
understand but also to jumpstart the process of internalizing the movement,
which must then be drilled again and again until it is perfected.
How to Use This Book
As noted above, there is a lot of information on how karate techniques are
performed. For example, consider the front stance, or zenkutsu dachi. The feet
are shoulder width apart, with one foot one and a half to two shoulder widths
in front of the other. Both feet face forward as much as the body’s flexibility
allows, with the front knee bent and the back leg straight. While this is an
accurate description of how the stance should look, there is almost no
information to be found about how it should feel, the dynamic tension held in
this static position. That dynamic tension allows the body weight to be used in
the transition to the technique to be executed. Many people train in front of a
mirror, but as many seasoned karateka know, the mirror is not required; it is
simply a way to see the technique. A mirror can be detrimental to training if
overused as it can put you outside yourself. Each technique has a particular
feeling, and a change in the way a well-practiced technique feels can indicate
that the technique is off. In some ways, I could describe this work as a book of
feelings. These feelings and the biomechanical or anatomical principles they
stem from are not often discussed in dojo, so I hope this book can provide
further insight as you train. However, while I will describe these feelings and
principles to you, it is up to you to experience them for yourself.
Blocking a lunge punch, or oi zuki, with a vertical knife-hand block, or tate shuto uke.
Throughout this book I have used anatomical terms for clarity. Some
important ones are plantar flexing versus dorsiflexing of a limb. Simply put,
plantar flexing is when the end of a limb is pointed flat out, in the direction of
the limb, as when the toes are pointed. Plantar flexing is flat like a plane or flat
surface. Dorsiflexing is when the end of the limb is bent perpendicular to the
limb, as when the toes are pulled back toward the shinbone. Other common
anatomical terms used here are supination and pronation. For example, if the
arms are held by the side of the body and the thumb is stuck out like a
hitchhiker, pronation is when the forearm is twisted in such a way that the
thumb is pointing toward to the body, while supination is when the thumbs are
pointing outward from the body.
This book has three major parts. The first part deals with the techniques
themselves. In this section the primary techniques of karate are covered. Each
is discussed in terms of both the final position (static) and the feeling that runs
through the movements leading to the final position, as well as the feeling
involved in the final position itself (dynamic). To do this I have used a
standard way of organizing many of the techniques. Each class of technique—
stances (dachi), thrusting or punching (tsuki), kicking (keri), striking (uchi),
blocking (uke), and balance breaking (kuzushi)—has been broken down into
separate chapters.
The second and third parts of the book focus on the core principles
associated with generating power from all techniques. This includes several
chapters on biomechanics and anatomy, kime, hip movement, and also different
ways that we hit targets. In these chapters, some of the more nebulous or
misunderstood concepts, such as “hip vibration” and kime, are discussed,
defined, and explained in terms of how to do them in a clear manner.
While many examples originate from a Shotokan karate perspective,
examples from other styles of karate including Goju-ryu, Wado-ryu, Uechi-ryu,
as well as other martial arts such as aikido, taekwondo, and judo are also
used. Many of the concepts in this book are applicable to any martial art.
Simply put, there are only so many ways to move the human body; we are all
governed by the same principles of dynamics.
Once again, it is my sincere hope that you read this book, agree with at least
parts of it, learn something, argue with your friends, but, most importantly, use
it as a springboard to make your training better and more efficient.
CHAPTER 2
The Four Fundamental
Requirements of Martial Arts
Karate-do, or any other martial art, is, at its core quite simple. However, it can
be made far more complex than what it actually is. The multitude of techniques,
combinations, kata, and partner drills—combined with nebulous concepts like
“use your hips,” “lower your stance,” “do budo karate,” “make more kime,”
and “use your ki”—can make martial arts seem overwhelming. While the many
concepts are important, they are often treated as doctrine in the teaching of
karate. This can foster misconceptions and hamper understanding, and
therefore practice, of karate, often for very long stretches of a student’s
training.
Additionally, when attending seminars, clinics, or even everyday class,
students are often inundated by a multitude of techniques and spend much of
their time simply trying to understand what is being taught. This may perhaps
be the wrong approach. An example is the theming of individual lessons. It has
become very popular to “theme” individual lessons: teach a single concept
throughout. This could be a particular technique or group of techniques, such as
tsuki or keri; individual concepts in training, such as polishing a kata or kata
bunkai (application); or perhaps concepts or principles that relate to budo
overall, such as the correct use of hips, timing, or posture. The latter is a far
more advanced method of teaching karate and uses techniques (kihon), kata
practice, and partner training (kumite) to illustrate and reinforce overall
principles that show a practitioner how to do karate. If these principles are
understood and followed, students will elevate their level overall.
So out of the multitude of principles available, which are the most important
to learn? In conversations with some of my own high-ranking seniors, many
agreed on certain points. But Sensei Steve Ubl (eighth dan, World Traditional
Karate Organization) said it the most succinctly: in order to do karate
effectively, there are four fundamental areas to be mastered: posture, structural
alignment, body mechanics, and practical functionality.
Good Posture
Perpendicular alignment of the back relative to the floor in oi zuki, or lunge punch.
Good posture is fundamental to all karate and martial arts practice. Posture
refers to the back being straight from head to hips: The backbone is straight,
the head sits atop the shoulders and is not slumped forward, the tailbone is
tucked, and the pelvis is tilted in such a way that the lower back is straight. It
is important not to have the lower back relaxed so that the buttocks stick out or
are contracted too far so that the pelvis is pushed forward and under. Finally,
note that having a straight back does not mean that it is perpendicular to the
floor. It can be tilted relative to the floor, as long as it is straight from tailbone
to head and it contributes to the structural integrity of the technique. A perfect
example of this is in yama zuki, or mountain punch (see chapter 6).
Good Structural Alignment
Structural alignment of oi zuki. Lines show direct connection from fist to floor.
One of the main goals of karate is to have the body postured in such a way as
to allow a direct connection from the floor to the striking limb at the point of
impact. In fundamental karate this is how techniques such as oi zuki finish (see
below).The final position, although held very briefly in a real encounter, is
vitally important. These alignments provide the strongest position of the body
for a particular technique or a particular target.
Good Body Mechanics
Motion of gyaku zuki, or reverse punch, from preparatory position to final technique.
When we hear the term “oi zuki,” or lunge punch, we often imagine a karate
technique with one leg out in front and the arm on the same side out punching.
However, if we only consider the final position of the technique as being the
complete technique, we will have missed much of the point. The term oi zuki
refers to the entire motion of a stepping punch from start to finish. In some
ways the Japanese names of the techniques are verbs rather than nouns: they
refer to motions and the body feeling of doing those motions.
However, being aware that the entire motion is important, how that motion
is completed—especially with reference to its mechanics—is vital. Bruce Lee
often talked about economy of motion. This concept simply means good body
mechanics. By having good mechanics, martial artists will be faster, hit the
target with much more force, and experience much less wear and tear on their
bodies through training.
Good Practical Functionality
Evasion of a lunge punch, or oi zuki, by rotating around and finishing with an empi uchi, or elbow strike to
the head.
Good practical functionality refers to peripheral concepts such as distance,
timing, and the resulting application of the technique. It is important to note that
the three concepts outlined above (good posture, good structural alignment, and
good body mechanics) all have to be adhered to first, then practical
functionality can then be added.
Distancing, or maai, refers to the physical spatial relationship that two
people share during an encounter. It changes constantly, and the length of limbs
will alter what techniques may be thrown at any time. It is important for
practitioners to consider both the length of their own maai (What can I hit them
with right now?) and their partner’s maai (What can I be hit with right now?)
and learn how to control the distance to their advantage.
Timing can refer to a multitude of things in karate. Initially, it can mean the
mechanical requirements of a technique. For example, in a reverse punch, is
the hand stopping as the hip stops moving, or have the hip and body center
stopped moving, with the hand going on by itself? Obviously, it is best if the
hip, body center, and hand all stop concurrently. Timing can also refer to the
temporal relationship between opponents, that is, the timing involved in
successfully launching or defending against an attack. Both timing and distance
are intimately linked, and understanding the relationship between the two is
paramount.
A well-founded knowledge of how each technique is applied is also vital
for understanding karate, or any martial art. Once all of the above requirements
are met, the technique may be practiced with a partner. This includes body
positioning, foot positioning and entry, target acquisition, reaction of the target,
and changing both practitioners’ body positions after the application of the
technique to set up for the next technique.
These four fundamental requirements need to be studied vigilantly in order
to become proficient at karate, and martial arts in general. Each must be
thoroughly mastered at an instinctual level. With this in mind, it could be said
that the measure of your karate ability lies not necessarily in the number of
techniques or kata you know, but rather in how good your fundamentals are.
These fundamentals must become second nature, which can often only be
achieved over a lifetime. One thing is certain: only through constant, vigilant
practice can our body begin to understand these fundamentals.
CHAPTER 3
With What and How Do I Make a
Hitting Surface?
The Asian martial arts are notable for the range of body parts used to strike an
opponent. This range of weapons allows a greater variety of targets and angles
practitioners can use to thrust (chapter 6), kick (chapter 7), strike (chapter 8),
block (chapter 9), or generally make contact with an opponent. This chapter
will review the major body parts used to strike an opponent.
While the parts used are important, and are the focus of this chapter, it is
important to keep in mind that all body parts are used in karate. Of particular
note are the hips, which are used as the fulcrum of body movement, as well as
the abdominals, which connect the upper and lower body together. This will be
discussed in depth in the second part of this book.
Ready-Made Weapons
Before we discuss the different weapons of the body, it is important to
consider that some body parts are not ready-made for striking an opponent, and
must be conditioned to do so. We may have to condition the weapon itself or
its associated support structures to brace the weapon so it does not break upon
impacting a target. A classic example is the fist. First the knuckles need to be
conditioned to be able to take impact. Meanwhile, the wrist also needs to be
conditioned so that it does not buckle. There are many ways to do this, but the
most popular is to do pushups on the knuckles (seiken) that impact the target.
This develops wrist strength and lets the bones in the hand receive stress in the
distal and proximal direction,1 providing a stimulus for the bones to remodel
their internal architecture and withstand impact in that direction. Once this is
achieved, it is important for the practitioner to hit targets. These must provide
some feedback but not be so rigid as to cause damage. Makiwara or pad work
can aptly serve this purpose.
Alternatively, there are some weapons, such as teisho (palm heel) or the
heel or ball of the foot, that are already strong and can be used without
conditioning. It is important to understand this difference quickly to lower the
risk of injury when actually using the weapon.
Striking Points of the Hand and Wrist
The hand and wrist contain over seventeen different striking points. The sheer
adaptability of the end of the limb makes it an incredibly versatile weapon that
can be used at a variety of angles to strike a variety of targets.
Seiken
Seiken, or the forefist.
The first weapon is seiken, or the forefist. This consists of the front knuckles of
the index and middle fingers. In order to construct a correct fist, the fingers are
rolled tightly, starting at the tips and progressively rolled downward into the
fist. The fingers dig into the meaty part of the palm just above (not into) the
first line in the hand, creating a strong compact ball. The thumb then pushes
down firmly on the middle knuckle of the index and middle finger on the
underside of the fist. The strongest squeezing finger is the little finger, which
should feel that it is winding both tighter and back toward the center of the
hand.
The wrist must be held straight so that the knuckles of the hand leading from
the index and middle finger are in line with the radius and ulna of the forearm.
This can be observed when the hand is held straight and the fingers are flexed
downward at the knuckle that connects the fingers to the hand to a right angle.
The region of the hand between the wrist and knuckle naturally makes a slight
upward angle that looks out of line to the forearm, but despite this angle, this is
the correct alignment for the bones of the hand to connect to the forearm. This
same angle must be maintained in the fist. Biomechanically, it is the strongest
position for the hand and wrist when clenched in a fist. It is commonly taught
that the top of the hand is in line with the top of the forearm (e.g., you could lay
a ruler along the forearm and top of the fist), but this is incorrect and will lead
to the wrist buckling downward and being injured if a target is hit. For
openhanded techniques, if the hand is held flat, then the hand is held directly in
line with the forearm.
Correct wrist positionof the fist.
As previously stated, seiken is not a ready-made weapon and needs
conditioning of both the knuckles and wrist to allow it to be used effectively.
Uraken
Uraken, or the backfist.
Uraken, or the backfist, is formed in the same way as seiken, but the back of the
knuckles of the index and middle fingers are used. Generally, uraken is used
when the radius and ulna are fully rotated to the supinated position. This is a
fairly ready-formed weapon.
Tettsui
Tettsui, or the bottom fist.
Tettsui, or the bottom fist, is also formed the same way as seiken; however, the
bottom of the fist is used (the surface provided by the curled little finger). This
is a very strong ready-made weapon that can be used to strike hard surfaces.
Ippon-Ken
Ippon-ken, or the one-knuckle fist.
Ippon-ken, or the one-knuckle fist, is constructed the same way as seiken, but
the index finger knuckle is extended out of the fist to make a point at the second
finger joint. The thumb is moved to a higher position in the hand so that it
presses onto the second joint, pushing both down in and away from the hand. It
is a ready-made weapon for attacking precise soft vital points of the body.
This thumb position both provides support to the striking surface and
stabilizes the wrist. This is through both the pollicus brevis and pollicus
longus tendons that connect the thumb to the wrist. The tightening of these
tendons through their associated muscles can greatly stabilize the wrist, and
this is why many hand positions have the thumb in this position.
This alternative thumb position is used in the seiken position in other types
of karate, such as in Isshin-ryu. This is because this style of karate was often
taught to Marines visiting Okinawa, who did not have years to develop the
correct muscles in the wrist. Using these two tendons was an easier and
quicker method to develop wrist stabilization. In contrast, seiken used in
Shotokan karate does not have the thumb in this position and really only makes
use of the pollicus brevis to stabilize the wrist. However, through several
years of training, the muscles of the forearm and underside of the wrist are
developed, creating a much better stabilizing position. When compared to a
fully strengthened and conditioned wrist, this alternative thumb position is not
as stable.
Nakadate-Ippon-Ken
Nakadate-ippon-ken, or the middle finger one knuckle.
In nakadate-ippon-ken, or the middle finger one knuckle, the middle knuckle is
extended to expose the point of the second joint of the middle finger. The thumb
and little finger squeeze the weapon together in a fashion similar to seiken. It is
a ready-made weapon for attacking precise soft vital points of the body.
Hiraken
Hiraken, or the fore-knuckle fist.
Hiraken, or the fore-knuckle fist, has the same wrist setup as seiken; however,
the entire hand is extended so that the striking surface is the points of the
second knuckle joints of the hand. It is a ready-made weapon used to slot into
narrow spaces, such as the philtrum or throat.
There are two ways to create this weapon. The first is where the hand is flat
to the second knuckle joint with the thumb bent. The second is the same
position as ippon-ken. All knuckles are extended so that the fingers form a
triangle when looking down at the thumb side of the hand. In this second
configuration, the thumb is able to support by pushing in and out from the hand.
Either position is satisfactory for wrist support, since the pollicus brevis and
pollicus longus tendons are employed due to the position of the thumb. The
weapon is braced by the flat alignment into the hand, the thumb pushing into the
index finger.
Teisho
Teisho, or palm heel.
Teisho, or palm heel, is constructed the same way as the flat version of
hiraken, but the wrist is extended upward, exposing the meaty part of the palm.
This is a very strong ready-made weapon.
Kumade
Kumade, or bear hand.
Kumade, or bear hand, is constructed the same way as the flat version of
hiraken. The weapon is the palm and can be used to attack the face or ears of
an opponent.
Ippon Nukite
Ippon nukite, or the one-finger spear hand.
Ippon nukite, or the one-finger spear hand, has the same construction as the flat
version of hiraken, except the index finger is extended completely out and its
tip is the striking surface. This is not a ready-made weapon but can be used to
attack very soft targets such as the eyes.
Recently, Iain Abernethy2 has suggested that the extended index finger is
rather a guide and that the bent thumb is the actual weapon. The eye attack
would then be performed with the thumb in the eye socket, the finger extending
along the face pointing toward the ear while the fingers grip the underside of
the jaw.
Nihon Nukite
Nihon nukite, or the two-finger spear hand.
Nihon nukite, or the two-finger spear hand, has the same construction as the flat
version of hiraken, except the index and middle fingers are extended
completely out. It is used to attack the eyes.
Koko
Koko, or tiger’s mouth.
Koko, or “tiger’s mouth,” is formed the same way as hiraken, but with the hand
rotated in an ulnar deviation (flat and away from the body) so that the apex of
the “V” between the thumb and hand is in line with the radius and ulna. The
thumb is still bent. This ready-made weapon is used to strike the Adam’s
apple.
Shuto
Shuto, or knife hand.
Shuto, or knife hand, is formed by holding the hand straight and flat out from
the wrist. The thumb is bent inward. The striking surface is the knife-edge
surface of the hand between the little finger and the wrist. It is important to
make sure that the fingers are squeezed together tightly to compress the muscles
of the hand. This is a ready-made weapon.
Haishu
Haishu, or the backhand, can be configured the same as either shuto or kumade,
only this time the striking surface is the back of the hand.
Haito
Haito, or ridge hand.
Haito, or the ridge hand, is the area of the hand between the index finger and
wrist. To form this weapon, the thumb is tucked and bent under the hand to
expose the correct surface. This ready-made weapon is useful to attack the
neck or temple.
Kakuto
Kakuto, or the bent wrist. Note both the inverted-fingertip striking surface (upper) and the bent-wrist
striking surface (lower).
Kakuto, or the bent wrist, is formed by having the hand palm down, then
flexing the wrist downward and extending the fingers and thumb to a point. The
fingers squeeze together, hardening the tendons and ligaments. The striking
surface is the top of the wrist joint.
Kakuto also can be inverted so that the fingers are pointing upward and the
wrist brought in line rather than flexed. The fingertips are then the striking
surface (normally under the chin), as in the kata Gojushiho Dai.
Keito
Keito, or the “chicken head wrist,” is formed by making shuto, then bending the
wrist to the horizontal plane so that the joint of the thumb that connects it to the
hand is facing upward. Next, relax the hand and bend it downward in the
horizontal plane (drop the fingers downward). This will expose the top
knuckle of the thumb and wrist as the striking surface.
Seiryuto
Seiryuto, or the ox jaw hand.
Seiryuto, or the “ox jaw hand,” is formed in a way similar to keito. It is formed
by making shuto, then supinating the wrist so that the thumb is facing upward.
Next, relax the hand and radially deviate it (lift the fingers upward). This will
expose the palm-heel edge of the wrist as the striking surface.
Striking Points of the Foot
Like the hand, there are also many parts of the foot that can be used to strike a
target. Unlike many of the hand techniques, many of the foot striking surfaces
are ready-made weapons.
Koshi
Koshi, or the ball of the foot.
Normally the first weapon introduced for the foot is koshi, or the ball of the
foot. The ball of the foot is exposed in exactly the same position as when one
stands in the tiptoe position. That is, the foot is plantarflexed, and the toes are
pulled back. This is a very strong weapon and can be used immediately.
Sokuto
Sokuto, or the blade of the foot.
Sokuto, or the blade of the foot, is constructed by dorsiflexing and supinating
the foot (pulling it back and turning it outward) and pulling the toes back
toward the body. This is similar to standing on the outside edges of the foot.
This is often used in side kicks and, depending on which side kick is
employed, can slightly change the focus of the kicking weapon. Generally, if
yoko geri keage (side snap kick) is employed, the blade edge toward the
middle of the foot is used. Likewise, with yoko geri kekomi (side thrust kick),
the blade edge toward the heel is used.
Haisoku
Haisoku, or the instep.
Haisoku, or the instep, is constructed by plantar flexing the foot and curling the
toes downward. This exposes the instep, which is the striking surface.
Teisoku
Teisoku, or the sole of the foot.
Teisoku, or the sole of the foot, is constructed in the same manner as sokuto,
except the sole of the foot is the striking surface. The ability to use the sole
comes from the adduction (bringing the leg from outside the body to inside the
body) of the femur in the hip joint.
Kakuto
Kakuto, or the heel of the foot.
Kakuto, or the heel of the foot, is constructed by fully dorsiflexing the foot and
curling the toes back, exposing the heel. In a back kick position it is important
to have the foot pointed downward; however, this position can also be used in
a front kick position, where the toes are pointed upward.
Sokusen
Sokusen, or the toes.
Sokusen, or the toes, can also be used as weapons. For this to be effective, the
foot is plantar flexed with the toes straight in front and squeezed together to
make a striking surface. This can be used to hit soft parts of the body.
Other Weapons of the Body
In addition to the hands and feet, there are additional weapons that can be used
as striking surfaces. Some of these are more devastating since they are harder
and closer to the body’s center. This is because they are a smaller lever and
therefore are more connected to the body. To see this principle at work, have
someone stand with their arm in front of them. You will find it easy to push the
arm aside by applying pressure to the wrist. But if you push on their elbow, the
limb will be much harder to move. Also, the striking surfaces are often more
solid compared to the hands and feet.
Ude
Ude, or the forearm.
Ude, the forearms, can be used as weapons. Normally they are in the full
supinated or pronated position to tighten the forearm and create a harder and
more resilient surface.
Empi
Empi, or the elbow.
Empi, the elbow, is an exceptionally strong weapon. The striking surface can
be the front of the elbow or the tip, depending on the angle and direction of the
strike. Make sure the wrist is in the fully pronated position so the tendons in
the elbow are held tight. In the supinated or relaxed position, the tendons are
generally loose and the elbow could be damaged.
Hittsui
Hittsui, or the knee.
Hittsui, the knee, is another exceptionally strong weapon. It is formed by
having the knee in full flexion and the foot in a full plantar flex, with the toes
curled under the foot. One common misconception is that the foot should be in
a dorsiflexed position; this position relaxes the tendons in the front of the knee
and could result in damage to the knee. Only when the foot is in plantar flexion
are these tendons tight, creating a compact, strong weapon used in muay Thai,
or Thai boxing.
Others of Note
There are several other striking surfaces used in karate. They include the head,
the shoulder, and the hip. These surfaces are hard and solid and are often used
in kata, but not in regular practice.
References
Ferrie, E. Karate-Do: The Way of the Empty Hand. Ramsbury, UK: Crowood Press, 1996.
Funakoshi, G. Karate Do Kyohan: Master Text for the Way of the Empty Hand. San Diego: Neptune
Publications, 2005.
Higaonna, M. Traditional Karate-Do. Tokyo: Minato Research Publications Co., 1986. Vol. 2,
Performances of the Kata.
Marieb, E. N., and K. Hoehn. Human Anatomy and Physiology. 9th ed. Boston: Pearson, 2012.
Mitchell, D. Official Karate. London, Stanley Paul, 1986.
Nakayama, M. Dynamic Karate: Instruction by the Master. Tokyo: Kodansha International, 1966.
Nishiyama, H., and R. C. Brown. Karate: The Art of “Empty-Hand” Fighting. Boston: Tuttle
Publishing, 1960.
Okazaki, T., and M. V. Stricevic. The Textbook of Modern Karate. New York: Kodansha International,
1984.
Otsuka, H. Wado Ryu Karate. Hong Kong: Masters Publication, 1997.
Pflüger, A. Karate: Basic Principles. New York: Sterling, 1967.
Rielly, R. L. Complete Shotokan Karate: History, Philosophy, and Practice. Boston: Tuttle Publishing,
1998.
Schmeisser, E. Advanced Karate-Do. St. Louis: Focus Publications, 1994.
Yamaguchi, G. Goju Ryu Karate Kyohan. Hamilton, ON: Masters Publication, 1999.
CHAPTER 4
Stances, the Body Postures of
Karate
Dachi, or stance in karate, is a universal term for body and foot positions,
which provide a stable base from which tsuki, uke, keri, and uchi may be
executed. In addition, dachi controls body position and distance to the
opponent as well as the relative angle between technique and target.
In order to achieve a stable position, the practitioner needs to understand
the center of gravity (CG) and its relationship to the base of support. This is
covered in depth in the second part of this book. Simply put, the farther apart
the feet are and the lower the CG, the more stable the practitioner is. With this
concept in mind, it is important to always be cognizant of the position of the
body center or CG. We will begin this chapter with a discussion of the main
stances. In the next chapter, we will discuss their dynamics and the role of CG
in transitioning from one stance to another.
Types of Stances
There are many stances that are used in karate; each one provides a different
body position that can be applied to a different scenario. In Okazaki Sensei’s
book The Textbook of Modern Karate (1) he describes three major classes of
stances. The three classes are natural (shizen tai), fundamental (kihon), and
sparring (kumite). Generally, there is good agreement of the stances in most of
the readily available literature, and many of the stances are shared between
different ryu of karate (1–10).
In this classification system there are several major points to consider. The
first is the distance of the feet from one another. If the feet are farther apart,
such as one and a half to two shoulder widths (as with zenkutsu dachi), the
practitioner will be in a lower position, increasing stability. If they are in a
higher stance (through the feet being one shoulder width apart, as with renoji
dachi), they trade away some balance but then can use gravity to drop into
position. These higher stances are often called the “natural” stances.
Along with the height of the center of gravity, the farther apart the feet are,
the greater control of distance the practitioner gains with the feet fixed in a
single spot. For example, practitioners can transition their body center over a
greater distance as they move their body center forward and backward with
their feet far apart (e.g., zenkutsu dachi, back to kiba dachi, and then to kokutsu
dachi), compared to moving their body center with their feet only a hip width
apart (e.g., from renoji dachi, to heiko dachi, and then to teiji dachi).
In addition, stances can be divided into two basic nonexclusive categories
according to whether they involve inside or outside tension. This refers to the
tension through the stance as the feet connect to the floor. Such tension can have
large impacts on the dynamics of transition from one stance to another.
Stances also can be divided according to their posture. While many rely on
vertical posture, they can on occasion be on an angle (while maintaining a
straight back). The posture must also beconsidered in relation to the hip
position. Generally, there are three major ways to position the hip: front facing
(shomen), half front or reverse half front facing (hanmi or gyaku hanmi), and
side facing (yoko). A particular stance only allows certain postures. Posture
therefore determines what technique can be performed as well as the ways you
can transition from one technique to the next. It is for this reason that we are
discussing stances and their dynamics early. In short, stances have overarching
implications for all techniques.
Alignment of the feet in kokutsu dachi. Left: the correct alignment, with the feet placed on either side of a
perpendicular line. Right: the less stable variation of the stance, where the heels are directly in line with
one another.
Quite often, the phrase “heels in line,” when talking about a stance with one
foot in front of the other, refers to the heels being one directly in front of the
other or directly on a line. However, this may be a misconception, and “heels
in line” may in fact refer to the heels being on either side of a perpendicular
line. This means that when executing kokutsu dachi, or back stance, if the feet
were slid toward one another the rear foot would not bump into the back heel
of the front foot, but rather slide next to it. This would result in the back of the
rear heel touching the inside heel of the front foot, which would be more
stable. This was described by Mr. Leon Sill, eighth dan ISKF, and makes
sense, as it allows the hips the ability to rotate more freely in the hip joint in
these stances, provides some additional stability by slightly widening the base
of support, and reduces strain on the joints. This is contrary to almost every
figure in most published works. Note that in stances where the feet are parallel
(such as kiba dachi), heel in line means that the toes and heels are in line with
one another.
Natural Stances (Shizen Tai)
The natural stances are generally higher in position than the other two types of
stances, and, as their name suggests, are more “natural” types of positions.
They are subdivided into three classes: the feet-together stances, the open-leg
stances, and the right-angle stances.
Feet-Together Stances
The feet-together stances are frequently used as an attention or beginning
stance. However, they can also be used as transition stances due to their fully
contracted nature (feet together) and their small radius, which decreases
angular momentum and makes any rotation from this position easier to control.
Heisoku Dachi
Heisoku dachi, or formal attention stance.
Heisoku dachi, or formal attention stance, is constructed in a basic sense by
having the feet, ankles, and knees together. The knees are straight and the
posture from hips to heels is a straight line.
In addition to this configuration, it is also used frequently as a transitional
stance where the feet, ankles, and knees are together but with the knees bent as
low as possible without the heels lifting from the floor. This is used as the
apex of a contraction during movement and in stepping and rotational
movements.
Musubi Dachi
Musubi dachi, or informal attention stance.
Musubi dachi, or informal attention stance, is constructed by having the ankles
and knees together but the feet turned outward to form a ninety-degree angle
between the big toes (like a duck). This position is regarded as a little more
stable than heisoku dachi and is therefore more frequently used as an attention
stance.
Open-Leg and Right-Angle Stances
The open-leg and right-angle stances are truly natural stances. In terms of
dynamic feel and shape, they all have their equivalents in the fundamental
stances but are executed from a more natural, higher position. The practitioner
needs a thorough understanding of the fundamental equivalents to be able to
execute these stances correctly.
Another use for these stances is for students who have knee injuries. If a
student of mine has a knee injury but has been cleared for light activity by a
physician, I often find I can have him or her train by using these stances, since
they do not involve the deep knee bends of the kihon dachi. This can allow
students to continue training when otherwise they may become discouraged
during recovery from an injury.
There are three open-leg stances—hachiji dachi, heiko dachi, and uchi
hachiji dachi—and two right-angle stances, renoji dachi and teiji dachi.
Hachiji Dachi
Hachiji dachi, or open-leg stance, is formed by having the feet shoulder width
apart with the heels turned inward so the feet point outward. The heels are
parallel to the front of the room. (This posture resembles the Japanese
character for eight; hachiji dachi literally means “character for eight (八)
stance.”) The knees are straight, creating a very natural position and easy
movement, since the muscles and tendons of the inner thigh are not engaged to
the same degree as in heiko or uchi hachiji dachi (see below). The equivalent
fundamental stance is shiko dachi, and it is common in Goju-ryu but not so
much in Shotokan.
Heiko Dachi
Having the feet shoulder width apart and parallel to the front of the room
constructs heiko dachi, or parallel stance. The legs are straight. This stance
provides medium connection to the floor by connecting the muscles in the inner
thigh, stabilizing the leg laterally to the hip. The equivalent fundamental stance
is kiba dachi.
Uchi Hachiji Dachi
Uchi hachiji dachi, or inside natural stance.
Uchi hachiji dachi, or inside natural stance (literally the “upside down
character eight (八) stance”), is the opposite of hachiji dachi. It is performed
with the legs straight and the feet shoulder width apart parallel to the front of
the room. The feet are also turned in with the toes inward and the heels
outward. This is the most stable of the three open-leg stances due mainly to the
ability to completely engage the m. satoris and m. gracilis muscles in the front
of the hip. There is no fundamental stance equivalent since it is impossible to
point the feet inward from a wider position with the feet. However, it is
related to Sanchin and Hangetsu dachi, but with an outside tension feel (see
next chapter).
Renoji Dachi
Renoji dachi, L stance, or “stand like the character レ stance,” is constructed by
having the heels in line and the feet about shoulder width in front of one
another. The front foot faces forward and the rear foot is pointing outward at a
slight angle. The fundamental stance equivalent is zenkutsu dachi. The majority
of the weight is on the rear foot as in zenkutsu dachi, where the driving leg is
the rear leg.
Teiji Dachi
Teiji dachi, T stance, or “stand like the character 丁 stance,” is constructed
with the heels in line, one directly behind the other and shoulder width
forward. The front forward is pointing directly ahead; the rear is perpendicular
to the front. The fundamental stance equivalent is kokutsu dachi.
Fundamental Stances (Kihon Burui)
The fundamental stances are generally performed from a lower position and
usually take advantage of at least one knee being fully bent. Having the knee
fully bent provides two major advantages: (1) the center of gravity is lowered
so the stance is more stable, and (2) the quadriceps (one of the largest muscles
in the body) is fully lengthened and ready to contract strongly to straighten the
leg.
One important point about bending the knee is to make sure it bends in the
same direction the foot points. The knee should always be in line with the foot
because the knee joint is a hinge joint and only has at best five degrees of
movement laterally before it dislocates out of joint (J. Challis, Penn State
University, personal communication). A knee bent off the right angle causes
many knee injuries in karate. While the knee has ligaments and tendons to hold
it in place before dislocation, continued lateral strain on the knee will cause
imbalances and eventually knee issues. Therefore, it is imperative for the
practitioner to be cognizantof how the knee is bending at all times and in all
movements.
The fundamental stances, due to their low position, are invaluable training
stances for three reasons: (1) due to their low position, they develop leg
strength, and in the dynamic transitional movements from one to another they
develop explosive power. (2) They provide a “perfect” position for the
practitioner, which means they provide the strongest position for that base of
support. (3) They provide the correct internal “feel,” which will in turn allow
the practitioner to develop proficiency in the natural stances.
The fundamental stances are divided into two categories depending on the
knee’s tension. The straddle-leg stances involve outward tension, and the half-
moon stances involve inward tension. I discuss the concept of tension in detail
later, but it is important to note that the tension can change from inward to
outward depending on the needs of the practitioner in that moment in time
rather than being tied to a specific stance. Therefore, in some cases inward
tension can be exchanged for outward tension within the same stance, so this is
a generalization.
Straddle-Leg Stances
The straddle-leg stances have at least one knee bent over the toe. The degree of
the bend is directly related to the degree of flexibility of the practitioner’s
ankle as the practitioner bends the knee until just before the heel lifts from the
floor. This can be very hard for practitioners of Western European descent,
who tend to have inflexible ankles. In addition, many of these stances are
constructed by having a slight outward pressure. That is, the feet are pushing
outward and away from the center of the body. This concept will be discussed
in detail in the next chapter.
Zenkutsu Dachi
Zenkutsu dachi, or forward stance.
Zenkutsu dachi—forward, front, or “front knee bent stance”—is formed by
having the feet one and one half to two shoulder widths in front of each other
and separated left to right by one shoulder to one hip distance. Both feet point
as far to the front as flexibility allows, and the front knee is bent as far as
possible without lifting the heel of the front leg off the floor. The rear leg is
straight but not locked or hyperextended. The hips are tucked under the body
and can freely move into either hanmi or shomen.
The center of gravity is positioned approximately 60/40 front to back leg
and 50/50 laterally. The front ankle is bent strongly, and the knee is over the
front toe, similar to the position of a sprinter in the blocks. This places the heel
of the front foot almost under the buttock, depending on an individual’s femur
length. This creates the feeling of dropping the weight and pushing forward.
The rear leg is straight and provides a solid driving connection between the
heel of the rear foot and the hip. It is important not to hyperextend or lock the
rear leg in place, as this will lift the rear hip and break the lower back posture
by lifting the buttock up and backward. This has the effect of removing any
drive the rear leg would contribute to the technique since the hip joint would
not be seated correctly under the spine.
The feet are one and one half to two shoulder widths apart, depending on
flexibility. More specifically, stance length is determined by the farthest
distance the feet can be apart and still have the rear heel push weight into the
foot with the hips straight (held in shomen). This will vary by age, flexibility,
and femur length; however, as long as the 60/40 ratio is met, the front leg is
bent, and the rear leg is straight, technically any distance could be considered
zenkutsu dachi.
The foot for the front leg is placed so that the outside edge of the foot points
straight ahead, although this can be adjusted if one is knock-kneed or
bowlegged. This tightens the m. satoris and m. gracilis muscles and connects
the front leg tightly to the hip. The rear foot points as far forward as the
practitioner’s ankle flexibility allows. It is important not to point the rear foot
in such a way as to have to tilt the rear hip upward, destroying the lower back
posture. In the dynamic movement of zenkutsu dachi, the rear leg is the driving
leg; however, when it is straight, its role changes from driving to providing
support as it connects the hip to the torso and to the attacking limb and
provides a solid brace for the force that will come back through the body on
impact with the target. This is similar to a stick perched at an angle holding up
a wall.
The feet are positioned one shoulder width to one hip width apart, and the
body weight is positioned equally between the two feet laterally. This gives
the stance lateral stability and allows room for the hips to rotate freely. If the
stance is too narrow, it loses its lateral stability; if too wide, the front-to-back
stability is thrown off due to the heel of the back leg having to connect at an
angle to the hip rather than straight behind it.
The overall final construction of this stance provides a strong foundation
front to back and reasonable stability side to side. Unfortunately, the weak
point of the stance is at the thirty- to forty-five-degree angle to the front, where
the rear leg is not aligned to support the body.
An important point to note here is the placement of the front leg of zenkutsu
dachi. The position of the knee over the toe, the foot angled slightly inward due
to the outside of the edge of the foot being straight, provides a connection
through the leg to the hip, with the heel sitting almost directly under the hips.
This is universal in all of the fundamental stances. This position is the
transitional position for the next movement since the quadriceps is fully
lengthened, storing much of the potential driving energy for the next movement.
Kiba Dachi
Kiba dachi, or horse-riding stance. Note the outward tension from the hip, which is directly translated to
tension on the outsides of the feet.
Kiba dachi (straddle or horse-riding stance) is formed by having the feet one
and a half to two shoulder lengths apart. The outside edges of the feet are
parallel and the knees are bent over the toes in the same construction as the
front leg of zenkutsu dachi. The buttocks are tucked so that they line up with the
heels when observed from the side.
This stance is very stable and strong in a side-to-side direction but weak in
a front-to-back direction. The placement of the legs and feet is important for
the strength of this stance. Having the feet parallel, knees bent over the toes,
and hips tucked tightens all of the tendons, ligaments, and muscles of the ankle
and hip joint into a position that prevents the legs from moving outward
(abducted) away from the body.
It is important not to think of the knees as being pushed outward or, worse,
to actually do it. Instead, envision a direct connection between the outside
edges of the feet and the inside of the hip. The feeling is as if the practitioner is
pushing on a flexible bow braced down the inside of the leg and attached to the
hip and foot. As the practitioner pushes down, the bow bows outward, creating
the bend in the knee. Kiba dachi is formed by two of these bows pushing
toward each other, hence the stability of the stance.
There are two main keys to the connection of this stance. First, the outside
edges of the feet must be parallel. If they are turned even slightly outward, the
tendons, muscles, and ligaments release and allow room for lateral movement
in the stance. Second, the hip and buttocks must be tucked so they are directly
above the ankle when looking from the side. If the buttocks are positioned
farther back, there is no way to brace against any force in the stance, and it
will inevitably break.
Kokutsu Dachi
Kokutsu dachi, or back stance. Note the outward tension from the hip of the rear leg. This is directly
translated to tension on the outsides of the feet, similar to horse-riding stance, or kiba dachi.
Kokutsu dachi, back stance, or “back knee bent stance,” isconstructed by
switching the front leg of zenkutsu dachi to the back leg and angling it at ninety
degrees so the outside edge of the back foot is at a right angle to the front. The
front foot is one and one half to two shoulder widths directly in front, pointing
directly forward, and the leg has a slight bend so it can actively push into the
front hip. The buttocks are tucked so the hip is directly in line with the heel of
the back foot when viewed from the back. The length of this stance is the same
as for zenkutsu dachi and kiba dachi.
The CG is positioned approximately 30/70 with respect to the front and
back legs to allow the hips to almost sit over the ankle of the rear leg. This
construction creates the strong bow-like pressure in the rear leg, which is the
same as kiba dachi. The front leg actively pushes into the hip and back leg to
maintain that feeling. An easy way to think about applying pressure in the
stance is to actively try to get the feeling of standing on the outside edges of the
feet. This maintains the pressure that comes from opening the hips out and
provides an outward pressure required by the stance. Another key point is that
the front hip must be pushed down as this drives into the rear leg. If the front
hip is lifted up, any pressure from the front will lift the practitioner up and
over the back leg, breaking the stance. All key points for the positioning of the
legs in kiba dachi also hold true for the back leg of kokutsu dachi.
As I said above, this stance is very stable front to back but fairly weak
laterally. But this weakness can be offset by thinking about what “heels in line”
means. Again, heels in line means they are on either side of an imaginary line
rather than on the same line. This slight shift of one to two inches provides a
dramatic increase in lateral stability to the stance.
Sochin Dachi (Fudo Dachi)
Sochin dachi (named after the kata Sochin) and fudo (immovable) dachi are
sometimes considered the same stance; however, they can have different
constructions that are also sometimes interchanged depending on the Shotokan
organization. I will define both of them by the more common worldwide
designations.
Sochin dachi is constructed with the feet in a place similar to that in
zenkutsu dachi (one foot one and one half to two shoulder widths in front of the
other and one shoulder width to one hip width apart); however, the actual
stance is kiba dachi pushed toward the front in a 60/40 front-to-back
weighting. Therefore, both feet point parallel on a thirty-degree angle from the
front of the room.
This is a strong stance, weighted forward into a target. It is braced through
the construction of the front leg (in the typical bent-knee construction we have
discussed previously), with the back leg actively pushing into the front leg.
When executing this stance it is important not to let the back leg collapse, but
rather keep outward pressure on the outside edge of the foot, which will, in
turn, “bow” the leg outward.
Fudo dachi is constructed similarly to kokutsu dachi, except that the weight
distribution between the front and back leg is close to 50/50, and the feet are
hip distance apart laterally. The front foot points forward. This stance is often
used to allow for a strong base to make a block, then to couple translational
hip movement to the rotational hip movement for the counterattack as the
practitioner transitions from fudo dachi to zenkutsu dachi shomen.
Shiko Dachi
Shiko dachi, or square stance.
Shiko dachi, or square stance, is similar to kiba dachi except that the feet are
pointed outward and the knees are able to track over the toes. This allows
more free movement in the knee joint, making this stance a more highly mobile
version of kiba dachi. Unfortunately, this stance is not commonly used in
Shotokan, though it is extensively used in Goju-ryu.
Moto Dachi
Moto dachi, or foundational stance, is derived from zenkutsu dachi except the
front foot is moved back the distance of one foot toward the rear leg. This extra
movement is then taken up by bending the back leg. Moto dachi represents a
foundational kumite stance, and I often refer to it as “neutral” after the neutral
position in a stick-shift car. This is because from moto dachi (due to the bends
in both legs) it is possible to shift easily to almost any stance.
Half-Moon Stances
The half-moon stances, like the straddle-leg stances, have at least one knee
bent over the toe. The difference, however, is that many of these stances are
constructed by having a slight inward pressure. That is, the feet are pushing
toward the center of the body. Once again, we will discuss this concept more
in the next chapter.
Hangetsu Dachi
Hangetsu dachi, or half-moon stance, can be constructed from zenkutsu dachi.
In short, the front leg is shifted back toward the back leg by one foot length.
The rear leg is turned so the foot points directly toward the front. The front foot
is slightly rotated inward so the outside edge of the foot is on a ten- to fifteen-
degree angle. Both knees are then bent so they track over the toes, the hips tuck
under, and the feet pull inward. There is a drive off the back leg that gives this
stance the feeling of pressure that wants to move forward.
One important teaching point is how this inward tension is executed. Too
often, it is taught as “pull the knees inward toward each other.” This is
absolutely wrong and will eventually lead to severe knee injury. The knees are
just hinge joints; they extend and flex. There is little or no lateral motion. A
better way to instruct students to get the right feel is to tell them to pull the
entire leg in between the heels and adductors (inside of the thigh) by squeezing
through the hip. The knee is already bent and tracking over the toes, so use the
adductors to pull the legs together as if you were standing on a towel on a
slippery surface and pulling your legs together from the hip.
Sanchin Dachi
Sanshin dachi, or three battles stance.
Sanshin dachi, or “three battles stance,” is very similar to Hangetsu dachi. It is
performed by standing in heiko dachi and bringing one leg directly forward so
the feet remain shoulder width apart and the heel of the forward foot is in line
with the toes of the rear foot. The front foot is then turned slightly inward to a
position similar to Hangetsu, and both knees are bent so that they track over the
toes. The practitioner then squeezes the adductors so that there is inward
pressure from the inside edge of the feet to the inside of the groin, developing
stability in the stance.
Nekoashi Dachi
Nekoashi dachi, or cat-foot stance.
Nekoashi dachi, or “cat-foot stance,” can be derived from zenkutsu dachi by
maintaining the front leg position and swinging the back leg so that it moves to
the front. The rear (now front) leg moves forward enough so that 90 percent of
the body weight is on the bent leg while 10 percent is on the front. The hip of
the weight-bearing leg remains over the heel. The front leg is in a plantar-
flexed position so the ball of the foot is touching the floor. The distance
between the front and rear legs is dependent on femur length and is normally
set in a position such that the shinbone of the front leg is perpendicular to the
floor. The legs squeeze inward in a manner similar to what is described above.
Kosa Dachi
Kosa dachi, or crossing stance.
In kosa dachi, or “crossing stance,” you begin from zenkutsu dachi but then pull
the back leg toward the front leg so the shin of the back leg is against the calf
of the front leg. The front foot retains the bent knee position while the back
ankle is plantar flexed and the toes are pulled back so that the ball of the foot is
in contact with the floor. The hips are tucked under the front leg, and the
buttocks are underneath the heel of the front foot. The legs are squeezed
together and, along with the straight back and tucked hips, provide stability to
the stance.
Sagi Ashi Dachi
The practitioner standing on oneleg constructs sagi ashi dachi, or “heron foot
stance.” The practitioner stands on one leg while the foot of the other leg is
most commonly placed so that the instep tucks behind the knee of the standing
leg. However, there are other variations, including resting the sole of the foot
in the side of the knee of the standing leg. The standing leg can vary between
being straight or bent, depending on the purpose, but the most common
variation is straight. The legs squeeze together slightly and allow the
engagement of the lower abdominals, which provide some stability to the
stance.
Sparring Stances (Kumite Burui)
There are equivalent natural stances for each of the fundamental stances. A
primary difference between the two classifications is that the fundamental
stances represent ideal-world postures used to develop the correct shapes of
the positions and how each feels. They allow the practitioner to understand the
connection between position and technique. The natural stances require a
complete understanding of the fundamental stances in order to be executed
correctly. Therefore, the sparring stances represent a compromise between the
ideal of technique and the reality of real-time combat.
In addition, the sparring stances are often initiated from a free kamae
(posture) position, which in the fundamental world is often represented by
either moto dachi or renoji dachi. The practitioner then applies tension to the
stance, shifting the legs and body center positioning of the individual to the
required stance. This is often similar to dropping a cat from a height (not
recommended): it will fall and land in an elegant, connected-to-the-floor
position from which the cat slinks off.
Moto dachi–style kamae.
In this context, the change from a sparring stance to a fundamental or natural
stance through the process of executing a technique requires a dynamic change
of body weight. For example, the ultimate goal of zenkutsu dachi is to drive the
body weight down and forward. The actual posture is only held for a fraction
of a second as the technique is delivered. Then the practitioner seamlessly
transitions back to the “neutral” position or directly to another stance or
position to deliver the next technique. We will discuss this dynamic aspect and
the transition between techniques later.
While moto dachi–style kamae is fluid and changing constantly, there are
some key points that should be kept in mind. The first is that both knees need to
be bent and coiled to allow the practitioner to drive in the direction he or she
requires. This means that the weight distribution should be roughly 50/50
between the two legs. Changing between stances, depending on the needs of the
situation, is achieved by transferring the bend between the legs. There are
trade-offs involved in changing the weight distribution between the two legs.
Bending the front leg and transitioning weight to it makes it harder to be swept,
and the front leg can also be used to drive forward in a stepping motion. But
power from the rear leg for techniques like gyaku zuki or kizami zuki (see
below) can be lost. Bending the rear leg positions the body farther away from
the opponent and creates additional potential forward drive. However, it is
important to note that it can be detrimental to bend the rear leg too far
(especially if the femur becomes perpendicular to the ground), as any drive
will be in the upward direction rather than in the direction of the opponent. The
femur should be held at a thirty- to forty-five-degree angle toward the
opponent.
The higher renoji dachi style of kamae loses the bend in the knees and
therefore requires the use of gravity and expansion of the hips to drop and
drive the technique to work correctly compared to simply using the energy
stored through a deep bend in the knees, as in moto dachi. It is important to
understand the dynamics of the drop-and-drive type of technique since it is
what the practitioner is most likely to face at the beginning of an encounter. Its
full dynamics will be discussed in chapter 15. While drop-and-drive dynamics
are not often emphasized in regular Shotokan karate practice, they are
practiced often in regular training whenever the practitioner moves from a
natural stance to a straddle stance.
Finally, the position of the hands is important in kamae. While there are
many variations, the most common is a relaxed position, with the elbows close
to the body. The forearms and fists point directly to the target (normally the
face) like arrows. This removes the need to adjust the angle of the forearms to
hit the target with the fist and only requires a simple innervation of the chest
and triceps, giving the technique a direct path to the opponent. The angle of the
arms changes depending on the distance to the target. If the opponent is some
distance away, the forearms will be more parallel to the floor; if the opponent
is close, the forearms will be at a much steeper angle. In the first case, with
some distance between the combatants, the opponent would have a view of the
fist and biceps, but the forearm would be pointing directly at the opponent so
he or she would not be able to see it. A common mistake is to have the rear
arm hugging the body too much, causing the forearm to point across the
opponent. The rear hand must point at the opponent before the technique can be
thrown. Otherwise, you would need multiple trajectories to hit the opponent,
thus slowing down the technique. Additionally, by having the elbows close to
the body, they can be immediately connected to the body and rotated as a single
unit for blocking.
Conclusion
The many stances of karate serve a wide variety of purposes. They are not
rigidly fixed but represent ways to use body weight effectively, taking into
account both the distance between the body center and the opponent as well as
the rotational position of the body relative to the opponent. In addition, they
provide the bracing required to give the best body alignment for techniques by
connecting the body to the floor.
Notes
  1. T. Okazaki and M. V. Stricevic, The Textbook of Modern Karate (New York: Kodansha
International, 1984).
  2. H. I. Cho, The Complete Tae Kwon Do Hyung (Los Angeles: Unique Publications, 1989).
  3. G. Funakoshi, Karate Do Kyohan: Master Text for the Way of the Empty Hand. (San Diego:
Neptune Publications, 2005).
  4. M. Higaonna, Traditional Karate-Do (Tokyo, Japan: Minato Research Publications Co., 1986), Vol.
5(2), Performances of the Kata.
  5. H. Kanazawa, Black Belt Karate: The Intensive Course (Tokyo: Kodansha International, 2006).
  6. M. Nakayama, Dynamic Karate: Instruction by the Master (Tokyo: Kodansha International, 1966),
308.
  7. H. Nishiyama and R. C. Brown, Karate: The Art of “Empty-Hand” Fighting (Boston: Tuttle
Publishing, 1960).
  8. H. Otsuka, Wado Ryu Karate (Hong Kong: Masters Publication, 1997).
  9. S. Toguchi, Okinawan Goju-Ryu: The Fundamentals of Shorei-Kan Karate (Burbank, CA: Ohara
Publications, 1976), 191.
10. G. Yamaguchi, Goju Ryu Karate Do Kyohan (Hamilton, ON: Masters Publication, 1999).
CHAPTER 5
The Dynamics of Stances
Dachi, or stances, as previously discussed, provide a connection between the
practitioner and the ground. This connection is essential for the proper
execution of karate techniques such as tsuki, uchi, keri, and uke. The stances of
karate are the strongest possible positions for the execution of techniques. They
also provide reinforcement for absorbing the reaction force generated by the
body when it comes into contact with the target.
To make proper use of stances, the practitioner needs to be aware that a
stance is much more than a set leg and body position. It is more a dynamic
relationship with the floor that allows quick movement through the use of
ground reaction force. Therefore, it is important to consider the dynamics of
stances both in the static final positions as well as dynamically during
movement. A strong dynamic stance requires proper weight distribution,foot
position and connection to the floor, leg tension, and hip position and tension.
One must also understand how these factors relate to the static stance as well
as to dynamic movement.
This chapter will discuss the dynamics of stances in both static and dynamic
settings. In addition, we will look at how stance dynamics relate to other
aspects of karate.
Stance Tension
In karate there are two major types of stances. They are differentiated based on
the direction of tension to the floor and can be either inside (uchi ni shime) or
outside (soto ni shime). In outside-tension stances, the tension in the stance
pushes away from the body center. This is felt when the feet have slight
pressure on the floor in a direction that is away from the body center. For
example, if the practitioner were standing in slippery socks, his or her feet
would split outward based on the tension (see first illustration in this section).
The opposite is true of the other stance type, inward tension. For inward
tension, the feet feel as if they are pulling together (see second illustration in
this section). For example, if the practitioner were again standing in slippery
socks, his or her feet would slide together toward the body center.
Forward stance in the half-face hip position (zenkutsu dachi hanmi), an example of outward tension. Note
that the tension is on the outside edges of the feet; this tension originates from opening the hips outward.
Slight tension in the stance plays several crucial roles. First, the dynamic
connection between the feet and the floor allows the practitioner to grip the
floor more strongly and stabilizes the stance. Second, the dynamics of the
stance allow quick movement, as the practitioner just needs to relax the stance
to begin moving to the next position. Third, tension keeps the stance active
throughout the movement, allowing the body to connect to the floor and
providing a feeling of directionality in the technique.
It is important to note that the tension does not in any way come from the
knees. The tension is created from a relationship between the inward tension
and outward tension of the foot, on the one hand, and the inside tension and
outside tension of the hip and upper thigh. The knees are simply bent to some
degree over the toe depending on the stance. Any lateral tension on the knee is
very dangerous and will damage the knee joint over time.
In addition, the feeling of tension with the floor should not be excessive.
The feeling is just to connect the foot to the floor and provide adequate
pressure to let the practitioner push off it. If there is excessive pressure, two
things will happen: (1) the upper hip will lock up, preventing fluid hip motion,
and (2) the practitioner’s hips will rise upward as the tension increases (like
squeezing a tube of toothpaste, it will overflow).
Sanchin dachi (three battles stance), an example of inside tension. Note the knees bending over the toes
and the feet pulling inward. The tension originates from the hips pulling inward.
Examples of outside-tension stances include many of the fundamental
stances such as the straddle-leg stances discussed in the previous chapter,
including zenkutsu dachi, kiba dachi, kokutsu dachi, and others. Inside-tension
stances are the half-moon stances discussed previously, including Hangetsu
dachi, sanshin dachi, and nekoashi dachi. It is interesting to note that full-length
fundamental stances such as zenkutsu dachi are generally outside-tension
stances, while shorter-length fundamental stances such as hangestu dachi are
inside-tension stances.
Shime
Shime, originating from the floor through the drive of the back leg and setting the limb under the hip,
driving the body center forward.
The concept of shime was initially introduced to me by Dr. David Hooper
(fourth dan, JKA) and Mr. Steve Ubl (eighth dan, WTKO). Shime refers to the
leg’s connection to the hip. The example Dr. Hooper gave me involved the
back leg of zenkutsu dachi and how it should be pushing the back hip inward
and upward toward the spine (D. Hooper, personal communication). If done
correctly, the buttocks are tucked underneath the spine and the gluteus muscles
are flexed, producing a straight lower back. This upward pressure from the
floor through the leg is referred to as shime and provides the basis of inward
and outward tension. Generally speaking, outward pressure has both legs
pushing in toward the body center by grabbing the floor and pushing toward it.
It could be envisioned as pushing against a brick wall that is toppling toward
you. Outside-tension shime is a little different. This time you are pulling your
legs toward your body center, similar to holding up a wall that is falling away
from you. This connection to the hip is vital.
Stance Connection and Foot Tension
Change in tension through the feet in forward stance (zenkutsu dachi) that results in changing the hip
position between hanmi and shomen. Left picture: hips in the half face of hanmi position. Notice the
tension through the outside edges of the feet originating from the hip being opened wide. Right picture: hips
in shomen resulting in a change in tension from the outside edges of the feet to the feet pushing away from
one another in an outward direction. This change in foot tension results in the hips contracting, resulting in
the rotational movement of the hips from a half- to front-facing position.
Much of the tension in the stance should be derived from the way the feet are
connected to the floor. In zenkutsu dachi hanmi, for example, the feet are
pushing outward from the outside edges of the feet on an approximately thirty-
degree angle away from the body. In shomen, the stance tension changes to the
toes of the front foot and heels of the back foot pushing away from one another.
Interestingly, this tension can be changed significantly depending on the needs
of the stance. For example, in shomen the tension can be changed to inside
tension, with both the front and rear feet pulling inward. In addition, if the hips
need to be fully turned to shomen in zenkutsu dachi and the feet are in line, this
can be achieved by changing to inward tension by pulling the inside edges of
the feet inward.
For inside-tension stances, the feet are generally pulled inward with
additional pressure in the inside of the foot. This allows for the correct hip and
leg tension set up for the stance.
It is important to note that while one would stand on the inside or outside
edges of the foot, this is in feeling only. The entire foot is always connected to
the floor; only the pressure changes depending on the stance. The concept is
similar to standing on a Dr. Scholl’s kiosk at Walmart, where foot pressure is
measured and recorded as a heat map. Sometimes these machines were used to
experiment with different stances and make sure inside and outside foot tension
was correct.
Tension and How It Relates to Dynamic Movement
Inside and outside tension is critical to movement from stance to stance. This
concept is discussed in detail in chapter 17; however, a brief introduction is
provided here.
Quickly being able to alter the dynamic tension in the stance from foot to hip
is key to executing techniques in quick succession and, moreover, moving from
one position to another quickly and efficiently. If we take the movement of
stepping forward from zenkutsu dachi hanmi to zenkutsu dachi hanmi and then
rotating to shomen zenkutsu dachi as an example, it is a clear dynamic
movement of outside to inside to outside tensions.
Before the step, the zenkutsu dachi hanmi is an outside-tension stance, with
the feet pushing outward on the outside edges of the feet. The movement is then
initiated by the feet changing to inside tension (pulling through the heel and
toes of the feet toward the body center), which rotates the hip. It could also be
argued that it is the hips that initiate the tension change in the feet. The feet
again initiate movement, traversing through heisoku dachi, whichis an inside-
tension stance. The legs use the momentum gained from the inside tension to
continue swinging the back leg through to the front, at which time the front
(now rear) leg engages, switches to outside tension, and drives the body
forward. The front foot grabs the floor, connecting the stance in an outside-
tension feel with the feeling of standing on the outside edges of the feet. The
front foot grabs the floor, creating a feeling of outside tension as well as a
feeling of standing on the outside edges of the feet. The movement is completed
by squeezing the hips and changing the tension in the feet from pushing on the
outside edges to pushing away from the body center through the toes of the
front leg and heel from the back leg. This allows the change in the hips from
hanmi to shomen.
These concepts are especially important with respect to the change from
outside- to inside-tension stances and are one thing that Shotokan practitioners
do not generally practice enough. There is a lot of practice changing position
from outside- to outside-tension stances but not enough from outside to inside
and vice versa. It is useful to practice drills that have you step freely from
zenkutsu dachi, to nekoashi dachi, to kiba dachi, and to hangestu dachi. Gaining
proficiency in this allows you to connect the stance better in the shorter in-
between movements of the fundamental half-moon stances. This in turn teaches
better muscle memory in developing the ability to connect one’s body to the
floor on demand during kumite.
References
Higaonna, M. Traditional Karate-Do. Tokyo: Minato Research Publications Co., 1986. Vol. 5(2),
Performances of the Kata.
Nakayama, M. Dynamic Karate: Instruction by the Master. Tokyo: Kodansha International, 1966.
Nishiyama, H., and R. C. Brown. Karate: The Art of “Empty-Hand” Fighting. Boston: Tuttle
Publishing, 1960.
Okazaki, T., and M. V. Stricevic. The Textbook of Modern Karate. New York: Kodansha International,
1984.
Otsuka, H. Wado Ryu Karate. Hong Kong: Masters Publication, 1997.
Pflüger, A. Karate: Basic Principles. New York: Sterling, 1967.
Rielly, R. L. Karate Training: The Samurai Legacy and Modern Practice. Rutland, VT: Tuttle
Publishing, 1985.
Schmeisser, E. Advanced Karate-Do. St. Louis: Focus Publications, 1994.
Toguchi, S. Okinawan Goju-Ryu: The Fundamentals of Shorei-Kan Karate. Burbank, CA: Ohara
Publications, 1976.
Yamaguchi, G. Goju Ryu Karate Do Kyohan. Hamilton, ON: Masters Publication, 1999.
CHAPTER 6
Tsuki: Thrusting Techniques
Tsuki is a class of karate hand techniques often regarded as synonymous with
punching. However, this class of technique is actually far broader and is more
accurately described as a set of thrusting techniques. They involve the path the
hand travels to the target relative to the long bone of the forearm (1). That path
is relatively direct to the target (moving parallel to the forearm), and the
striking surface is at the end of the forearm.
Principles of Tsuki
There are three principles important for executing tsuki correctly. The first is
that the elbow of the striking limb rubs close to the side of the body until the
elbow passes the torso. This is universal for all tsuki, and it could be said that
the differentiation in the path of any tsuki technique only occurs once the elbow
passes the body. This ensures that the correct muscles in the shoulder, chest,
and back are connected to the technique as it accelerates from the hip. It is
good to imagine performing all tsuki hitting the imaginary target with the point
of the elbow and the forearm (and thus the striking surface, such as the fist, just
gets in the way).
Path of the straight punch, or choku zuki.
Targeting of the straight punch, or choku zuki. The path of the punch is set when the elbow passes the
body as the punch is executed to the face, jodan (top); the stomach, chudan (middle); and the groin, gedan
(bottom).
With this concept in mind, it is important to have the forearm on its correct
path to the target in terms of level (jodan is face level, chudan is stomach
level, and gedan is groin level) before the elbow leaves the side of the body.
The simplest way to imagine this is if the forearm, from fist to elbow, is
pointing like an arrow at the target by the time the elbow leaves the body. This
ensures the correct and most direct path to the target. The “aiming” should be
done with natural motion. For example, there is no need to unduly stress the
biceps when aiming at jodan, as this will slow the course of the technique.
Rather, think of the movement as being as natural as reaching for a glass in an
eye-level cabinet.
The second principle refers to the fist of the striking hand on the hip at the
beginning and during the initiation of the technique. In particular, the radius and
ulna need to be rotated fully so that the thumb is twisted as far to the outside of
the body as possible. If the right hand is on the hip, the hand is rotated as far
clockwise as possible. This tension needs to be maintained at least until the
elbow passes the torso, but preferably until the moment of contact with the
target. This ensures that the elbow is tight to the body through the initial stages
of the technique. It can also be advantageous to twist the forearm a little tighter
as the technique is executed. This will allow a sharper rotation at the
conclusion of the technique.
Correct position for the fist in the preparatory position before the execution of a thrusting technique.
The third major principle is to only contract the muscles that drive the
forward motion of the technique while relaxing all others. This means
concentrating on contracting only the muscles that move the body center
forward and those that drive the limb forward. In choku zuki, the only upper-
body muscles that need to contract during the movement are the chest and
triceps.
Major muscle groups of the torso that need to be employed at the conclusion of choku zuki.
In addition, at the conclusion of the technique it is important to have the
striking limb in the correct position to be able to lock it down for the split
second of impact. You do this by contracting the pectoralis muscles in the
chest and the latissimus dorsi muscles of the back equally, while letting the
shoulders relax. This ensures that the striking limb is connected strongly to the
body at the moment of impact. If the arm is too far extended, the back cannot be
engaged. Likewise, if the arm is not extended enough, the chest is not engaged.
If the shoulder is lifted, it will not be able to set in the socket and the arm will
be disconnected from the rest of the body, causing the punch to lose much of the
accompanying body mass. The resulting impact will be severely reduced. An
easy way to assess the correct position is to extend both arms in front of the
body at a ninety-degree angle to the torso, while pushing the shoulders down.
Next, dorsiflex the hands at the wrist; this should result in the palm heels of the
hands pointing upward. Finally, rotate the hands outward and down so that the
fingers are pointing at the floor. This position, if the arms are fully extended,
with the shoulders pushing down and the fingers pointing down, is the correct
position. Both the back and chest muscles should be engaged. This should
result in a feeling of a ball or an empty space in the armpit. When keeping this
position, the elbow points to the floor. The radius and ulna are free to rotate as
needed while keeping the upper arm (humerus) locked in position.
Types of Tsuki
Tsuki can be broadly divided into two major categories. The first is composed
of one-handed tsuki, where a single hand strikes the opponent. The second
includes two-handed tsuki, where both hands strike the opponent (2–4).
One-Handed Tsuki
There are two major positions for one-handed tsuki. The first is where the
tsuki hand is on the same side as the leading leg (e.g., the right hand is
punching and the right leg is forward). There are two or possibly three termsdescribing different aspects of this. The first is jun, which means that the legs
are stationary and the same-side leg and hand are out. The second is oi, or
lunge, and is when the same leg is moving forward while the tsuki is being
executed. There is arguably a third called kizami, which refers to the
difference in hip position. Oi and jun are executed from a shomen, or front-
facing hip position, while kizami is executed from a hanmi, or half-face hip
position.
The second major position for one-handed tsuki is gyaku, which refers to
when the tsuki hand is opposite or reverse to the leg that is out (e.g., the left
hand punching with the right leg forward). Due to its nature, it is always
performed in shomen. There is no distinction between stepping and
nonstepping forms of gyaku zuki.
One other important point is the position of the opposite or retracting hand.
For beginners, the hand should be rotated immediately and drawn tightly and
sharply back to the hip. This principle, hikite, helps balance the torso muscles
across the body during the execution of the technique. As the practitioner
advances, and provided he has an understanding of what muscles need to
contract, the full motion becomes less important; however, the feeling of this
contraction in the opposite hand must always be present.
Finally, the timing of the technique is vital for hitting the target with the
entire body rather than just the momentum of the arm. This means that the body
center needs to be in motion toward the target at the moment of impact and not
stopped before impact. Initially, this is taught in terms of correct hand and foot
timing. But it can be argued that as long as the hip is in motion, the technique
can hit at any point. This will be discussed later.
In total, there are approximately seven different one-handed tsuki. All of
them have the aforementioned principles in common. The elbow is positioned
tightly against the body until it passes the torso. The wrist is fully rotated in the
opposite direction and released at the moment of impact. And, finally, all
muscles except those engaged with the forward motion should be completely
relaxed until the moment of impact. At this instant, the muscles of the back and
shoulder are connected to lock the technique down.
Choku Zuki—Straight Punch
Choku zuki, or the straight punch.
Choku zuki is the “bread and butter” technique of Shotokan. It takes a direct,
complete, and straight path from hip to target. The radius and ulna are
maximally rotated so that the fist is also completely rotated over. The palm is
down and the arm is straight but not locked so that the radius and ulna are in a
straight line with the humerus. The hips are in a final shomen position and
directly under the torso so that the driving leg can connect correctly to the
floor. The technique may be executed from either jun or gyaku.
Tate Zuki—Vertical Punch
Tate zuki follows the same path as choku zuki, except the elbow stops one fist
width beyond the torso and the fist is rotated halfway so that the palm is facing
toward the body. This is a short-range punch, but due to a fairly long path that
allows momentum to build and the close connection to the body through the
elbow, it is very powerful.
Kizami Zuki—Thrust Punch
Kizami zuki, or the thrust punch.
Kizami zuki is a straight punch that is executed in a fashion similar to choku
zuki, but the hips are rotated to a hanmi position once the elbow passes the
torso. This extends the reach of the technique, but it is less connected to the
body due to its extension. Often, kizami zuki is executed by the front hand in a
fully relaxed fashion from kamae. It is important to remember to only innervate
the muscles that are required for the punch and not to overextend the technique
so that the chest becomes stretched out. In addition, it is common to see people
lean forward from the chest and shoulder to cover distance. This has the effect
of pushing the hip backward, thereby losing the drive from the rear leg and
effectively breaking the connection of the hip to the floor. The illustrations
accompanying the next technique, age zuki, offer a clear demonstration of this.
Age Zuki—Rising Punch
Examples of good (left) and poor (right) body position in the execution of tsuki. Notice the correct use of
shime in the left picture. This allows the driving leg to correctly seat under the hips, thus driving the body
center forward. However, in the right picture, the body leans forward, which causes the rear of the hip to
lift, not allowing the leg to seat correctly under the hip. This causes the body center to shift backward,
away from the target, resulting in a loss of power in the technique.
Age zuki takes a rising path toward the target. Once the elbow passes the torso,
the punch rises from an initial chudan (stomach) trajectory as the elbow leaves
the body to a jodan (face) trajectory. The overall effect is that the arm scoops
upward. This technique therefore strikes both upward and into the target
simultaneously and is ideal for hitting under the chin or philtrum under the
nose.
Mawashi Zuki—Round Punch
Mawashi zuki, or the round punch.
Mawashi zuki takes an outside to inside path to the target. This will strike the
target at approximately a thirty-degree angle from the center and is designed to
get around a front guard and hit the side of the jaw squarely at an angle from
ear to chin. This technique is achieved by initiating the rotation of the fist after
the elbow passes the torso. This has the effect of releasing the elbow early
compared to choku zuki (where the elbow is kept in the straight line throughout
the technique) and allowing it to take the round path.
Kagi Zuki—Hook Punch
Kagi zuki, or hook punch. Note that the final elbow position is the same as a finished straight punch, or
choku zuki. Therefore, in both punches the elbow follows an identical path.
Kagi zuki, or hook punch, has a final position of ninety degrees with the elbow
in the same position as choku zuki, but the forearm is at ninety degrees facing
inward. It is executed by passing the elbow close and tight to the body and,
once past, keeping the elbow on the same straight, forward trajectory while the
radius and ulna rotate sharply. This has the effect of snapping the forearm to a
ninety-degree angle. It is important not to release the elbow early as is often
observed in tournament Heian godan. Keep it tight until the elbow passes the
torso. Also, rotate the radius and ulna tightly; this will result in the fist being
slightly over-rotated in the final technique. A good check for the final position
of the technique is to extend the forearm while holding the rest of the body still.
This should result in a perfect final position for choku zuki.
Ura Zuki—Close Punch
Ura zuki is a very close-ranged punch. Its final position has the elbow still
touching the torso and the fist still fully rotated in its initial palm-upward
position. It is effectively the initial movement of every tsuki that we have
discussed here.
Two-Handed Tsuki
The second major class of tsuki is where both hands are employed to strike the
target simultaneously. All of the three principles previously discussed also
hold true for these techniques (2–4).
Yama Zuki—Mountain Punch
Yama zuki, or mountain punch. The heel of the left leg to the elbow of the upper arm forms a straight line
to the floor. This line is on an angle toward the target. Note that the back is still straight.
Yama zuki is performed from the hanmi position (hips facing half forward) and
is effectively mawashi zuki (round punch, the upper arm) and ura zuki (close
punch, lower arm). Both fists are vertically in line and directly above and
below each other. It is executed with a slight lean in the stance so that from the
elbow of the mawashi zuki to the heel of the extended support leg is a single
line. Yama zuki gets its name for two reasons. The first is the position of the
elbow in the mawashi zuki, which represents the peakof a mountain. The
second is that with the head and two arms extended above and below, the
technique looks like the Japanese kanji for yama (山), or mountain.
Awase Zuki—U Punch
Awase zuki is a slightly toned-down version of yama zuki. It can be executed
from the shomen position and has the gyaku hand in an extended ura zuki and
the jun hand in a choku zuki position. Awase zuki can also be shortened so that
the ura zuki is in the correct position and the choku zuki is shortened. If it is
executed from the hanmi position, both techniques can be executed at the
correct lengths.
Heiko Zuki—Parallel Punch
Heiko zuki is two choku zuki executed simultaneously. They are normally
executed from the shomen position.
Hasami Zuki
Hasami zuki is two mawashi zuki executed simultaneously. Once again, they
are normally executed from the shomen position. This is used in the kata
Chinte.
Variations on the Striking Weapon
Any of these tsuki can be executed with any hand technique that is reinforced in
the same direction as the forearm. This opens up a wide variety of weapons to
the karateka. Often these techniques are practiced with seiken, or the front two
knuckles of the fist. However, many other options are available, including
ippon-ken (single extended knuckle), hiraken (extended fist—second joint is
used to strike), taisho (palm heel), and nukite (finger tips). With nukite, tate
(vertical finger tips), nihon (two finger tips), or ippon (single finger tip) can be
used.
Notes
  1. E. Schmeisser, Advanced Karate-Do (St. Louis: Focus Publications, 1994).
  2. M. Nakayama, Dynamic Karate: Instruction by the Master (Tokyo: Kodansha International, 1966),
308.
  3. H. Nishiyama and R. C. Brown, Karate: The Art of “Empty-Hand” Fighting (Boston: Tuttle
Publishing, 1960).
  4. T. Okazaki and M. V. Stricevic, The Textbook of Modern Karate (New York: Kodansha
International, 1984).
CHAPTER 7
Keri: Kicking Techniques
One difference between martial arts styles developed in Asia and many of the
Western arts is the refinement of the legs and feet as striking weapons. In
Shotokan karate in particular, kicking techniques, or keri, are seamlessly
integrated into the curriculum and are one of the six major classes of
techniques (tsuki, uke, uchi, nage, keri, and dachi).
Keri does have some advantages compared with techniques executed with
the arms. Specifically, they have a longer reach since the legs are longer than
the arms and they are generally more powerful, since the legs contain more
muscle mass compared to the arms. Finally, in self-defense situations, the
attacker can be surprised by the use of the legs in combat. Along with these
advantages, there are also some drawbacks. First, the balance is diminished
since the body is only supported on one leg. Additionally, kicks can be slower
and less coordinated than arm techniques, since the legs are not used for fine
movement, as the arms and hands are.
In Shotokan, kicking techniques are practiced above the head (similar to
taekwondo). This is contrary to many Okinawan karate and grounded Chinese
styles of martial arts that do not kick above the waist. The argument for low
kicks is made in terms of minimizing the time the kicker is standing on a single
leg and reducing the chance that the kicking leg may be grabbed. However, in
Shotokan, high kicks are used as a training aid to develop legs and muscles that
connect to the hip. Similarly, the lower straddle-leg stances are training aids
for the much looser free kamae stances.
Important Points in Kicking
The first major teaching point for kicking is the preparative knee lift. It is vital
that the leg be quickly drawn high and tight and that the femur be at least
parallel to the floor. This allows the correct path of the limb to the target with
minimal torque to the knee. In addition, it is important that the extending limb
retract along the same path back to the initial load position.
The second major point in kicking is to closely monitor the path of the kick.
The path should be effortless and allow correct movement through the hip
joints of both legs and correct extension of the knee joint. There should be no
lateral movement. The leg should extend and retract naturally along the same
path. To achieve this, it is important to practice the kick slowly and in a
controlled fashion. This will help develop the correct stabilizing muscles as
well as reinforce the correct neuromuscular pathways to fire the muscles in the
correct sequence.
The third major point is to pay very close attention to the supporting leg. At
least half the drive of the kick is derived from this leg, since it is in direct
contact with the ground and should (as in almost any technique) contribute a
significant portion of the forward drive. It must be rotated or set into the
correct position to provide the maximal drive, from floor to hip, and be
precisely timed with the impact. The position of the supporting leg will vary
according to the direction of the kick and the type of kick, whether keage or
kekomi (see chapter 18).
The fourth major point is to make sure the correct weapon is exposed to the
target and at the correct angle. If the wrong weapon hits, not only could the
kick be ineffectual or off balance, it may indicate that the path and final
position of the kick is incorrect. One example is in the side snap kick (see
below), where the hip must be turned over enough so that the leg correctly
rotates in the hip. Otherwise, the impact will be taken on the little toe rather
than on the blade of the foot.
The fifth major point is to avoid hyperextending the leg. Keep the joints
soft; that is, make sure the joints are not hyperextended at the full extension of
the kick. Repeated jarring through hyperextension of the kick will inevitably
lead to injury.
Finally, it is important to develop flexibility and only kick within the limits
of your flexibility. Flexibility in this context does not mean how high the leg
can be swung, but rather how high the leg can be lifted with control. It is this
balance of strength and flexibility that will allow the correct mix of body
alignment and force for the impact of the kick while keeping the kicker injury
free.
Types of Kicks
Kicks in karate can be divided into four major classes, from which all kicks
can then be derived. The first class are the mae, or front kicks; the second are
the yoko, or side kicks; the third are the mawashi, or turning kicks (sometime
also called roundhouse kicks); and the last are the ushiro, or back kicks.
Front Kicks
Front kicks take a vector from the front of the body straight to the opponent, as
if you were pointing directly ahead.
Mae Geri
Mae geri, or front kick.
The front kick, mae geri, moves in a direct diagonal line from the floor to the
target. It can be performed from either the front or back leg and may be either
keage (snap) or kekomi (thrust). Key points for the kick are to lift the leg high
and tight in the preparatory position, and during the retraction to bring the ankle
as close to the buttocks as possible. The foot is pulled back at the ankle
(dorsiflexion), with the toes also pulled back. The leg then extends toward the
target, and the foot is extended (plantar flexion) and the toes are pulled back so
that the ball of the foot makes contact with the target. Note that the ankle goes
from dorsiflexion to plantar flexion during the extension of the leg (basically,
the foot is kept level as it moves toward the target). The trajectory of the ankle
and foot to the target is a straight line. This can be demonstrated by stretching a
belt, or obi, from the heel of the back foot (kicking leg) to the target; as the leg
moves, the ankle moves along this line. The hips at the point of contact contract
slightly upward and are in the shomen position. The hips at the beginning may
be in either hanmi or shomen. If they start in hanmi, then they rotate and tuck; if
in shomen, they just tuck.
The support leg drives into the technique and has the effectof pushing the
body center into the target. As with all techniques, the drive of the hip through
the grounded leg must be timed to the impact of the technique. That is, the hip
must still be in motion toward the target as the foot hits the target, otherwise
only the weight of the kicking leg will be transferred to the target, as compared
to the entire body.
Variations on Mae Geri
Kin Geri
Kin geri, or groin kick, is executed in exactly the same way as mae geri keage,
or front snap kick, except for that the foot remains in plantar flexion throughout
the kick and the weapon is the instep. The path of the kick is an upward swing
and is ideal for hitting the groin.
Mikazuki Geri
Mikazuki geri, or crescent kick, starts from a hanmi (half front face) position,
forward stance (zenkutsu dachi), or horse-riding stance (kiba dachi). The leg
initiates the movement directly across the body toward the target, similar to a
sideways mae geri; however, the hips are rotated only once the preparatory
position is reached. This has the effect of creating a horizontal arc to the kick.
The striking weapon is the sole of the foot, which is dorsiflexed and rotated
inward. This technique is seen in the Shotokan kata movement #15 in Heian
godan or movement #28 in Bassai Dai in Best Karate by M. Nakayama (see
under references).
Hiza Geri
Hiza geri, or knee kick. Note that the final foot position is planar flexed.
Hiza geri, or knee kick, is simply the preparatory position of mae geri. The
hips are fully extended, pushed inward, and tilted upward, similar to the final
position of mae geri. The foot is plantar flexed to increase stability in the
striking knee.
Kiri Geri
Kiri geri, or cutting kick, is halfway between the roundhouse kick (mawashi
geri) and front kick (mae geri). In execution it is very similar to mae geri, but
instead of initiating the kick perpendicular to the floor, the kick is loaded so
that the shin is at a thirty-degree angle to the floor, with the ankle to the outside
of the body and the knee at the center of the body. This gives the kick an angle
that is ideal for hitting a surface that is not square to the kicker, as with an
opponent in the hanmi, or side-facing position.
Gyaku Mawashi Geri
This kick is related more to kiri geri than to mawashi geri. In short, it is simply
kiri geri in reverse. This time the hips are fully extended into a reverse half-
facing position (gyaku hanmi), and the load is at the opposite thirty-degree
angle to kiri, with the knee at the center and the ankle on the opposite side of
the body. The kick then twists inward toward the opponent.
It is important to note that for all of these kicks the knee has no lateral
motion but simply extends naturally straight out toward the target. The angle is
set up by the femur rotating longitudinally relative to the hip.
Mae Tobi Geri
There are two common versions of mae tobi geri, or jumping front kick. The
first is a straight jump and kick off the front leg. The second is a scissor
motion, where the back knee lifts and the other leg does the kick. This can be
extended into nidan tobi geri, where both the back and the front leg kick during
the jump.
Side Kicks
Side kicks, or yoko geri, are generally performed with the opponent to the side.
The striking surface is the blade or side edge of the foot. To achieve this
position, the foot is dorsiflexed toward the shin and the toes are pulled inward.
The foot is rotated laterally to a plantar-flex position, exposing the blade of the
foot.
Yoko Geri Keage
Yoko geri keage, or side snap kick. The preparatory position is shown on the left, and the final kick position
is shown on the right. The foot moves through a forty-five-degree upward vector to the target as the hips
drive toward the target.
Yoko geri keage, or side snap kick, is designed to stop the opponent in their
tracks. It does so by concentrating on a strong, very sharp retraction and hits
the target on an approximately forty-five degree upward vector. The
preparatory position has the knee lifted upward so that the femur is at least
parallel to the floor and outward, similar to a cobbler stretch. I tell my students
to imagine that their heel runs up a curtain rail running along the inside of their
supporting leg. Once in this position, the leg simply straightens naturally along
a line from hip to heel. Rotating and pushing the hip of the supporting leg into
the target achieves the upward arc to the kick, and this is the most important
concept of the kick. This rotation and pushing of the hip has the effect of
moving the body center toward the target and must be timed so that the hip is
still driving toward the target as the foot impacts the target. There should be no
time during the execution of the kick when the knee of the kicking leg torques
laterally or is lower than the ankle. The supporting foot should not need to
move on the floor during the kick. Once the kick makes contact with the target,
it is immediately retracted at greater force than was used to push it out. The
idea is that the kick will make contact and begin retracting before any force is
pushed back into the kicker. Therefore, the kick does not require as solid a
base of support as thrusting kicks.
Yoko Geri Kekomi
Yoko geri kekomi, or side thrust kick. The preparatory position is shown on the left, and the final kick
position is shown on the right. The kick thrusts parallel to the floor toward the target. The body center is
driven toward the target by the shift in the support leg; note the change in foot position through driving
forward on the ball of the foot.
Yoko geri kekomi, or side thrust kick, is a very strong kick. It makes use of the
inductor and gluteus muscles, and the hip is completely turned into the
opponent at impact. The kick is executed by lifting the leg as if preparing for
mae geri, but then the kicking leg lifts so that the shin is parallel to the floor
and there is a direct line from the buttocks to the heel to the opponent. The leg
then simply extends as if squatting, except that now the heel and blade of the
foot are driving into the opponent. It is important to rotate the kicking foot
downward as it extends to protect the hip joint of the kicking leg, and in
particular the adductor muscles. While the kicking leg is extending, the support
leg is also driving into the opponent. The heel of the supporting leg drives off
the floor and rotates, so that the foot of the supporting leg is facing directly
away from the opponent. This has the effect of allowing the hips to drive into
the correct position and engage the buttocks and inductors of the supporting
leg. Generally, when teaching this technique I break it down into six
components rather than the traditional four: (1) first, lift the knee as if loading
to mae geri. (2) Then lift the shin bone to the correct coiled position. The leg is
effectively in the same tight load as for mae geri but angled so that it is flat to
the floor, so that the hip, knee, and ankle are parallel to the floor, and the knee
and ankle are pointing in a direct line to the target. The heel of the supporting
leg should shift to the final position at this step. It is important to exhale here to
allow the correct contraction of the abdominals. This allows better timing of
the breath when steps 2 and 3 are combined later. (3) Naturally extend the leg.
Putting some resistance on the leg (such as by using a workout band) or having
someone hold onto the leg can help students understand the correct path of the
leg. (4) Naturally retract the leg to position 2 (again, having some resistance
can help teach this movement). (5) Bring the leg back to the chamber (position
1), rotating the support leg back to the original position as well, and (6) place
the leg down. Once students understand this set of movements, I have them
combine positions 2 and 3 as well as positions 4 and 5, connecting the breath,
support heel, and kick impact into the same instant.
The body drive of this kick is quite substantialand originates from the drive
of the supporting leg. As the kick is executed, the support leg is rotated on the
ball of the foot, effectively driving the heel of the support leg along the floor
toward the target. This in turn moves the body center toward the opponent and,
if timed correctly, the body center will be in motion as the leg penetrates the
target. In this way, additional body weight can be transferred to the target.
One important point is that yoko geri kekomi should very rarely be
practiced with full power and speed unless a solid target is being hit. Driving
the leg out in a straight line and stopping abruptly can cause joint separation. It
is not good for students to do lots of repetitions of this kick at full power and
speed in the air.
Fumikomi Geri and Fumikiri Geri
Fumikomi geri (stamping kick) and fumikiri geri (stamping cutting kick) are
identical to yoko geri kekomi, with the exception of the target. In fumikomi
geri, the target is the opponent’s shin or instep, which are attacked by a
downward stomping motion. Fumikiri geri, on the other hand, is driven into the
knee joint. Even though both kicks are low, the position of the knee in the
preparatory position should still remain high.
Yoko Tobi Geri
Yoko tobi geri, or flying side kick, is similar to yoko geri kekomi, except that
the support leg is driven upward at the point of contact to a position similar to
the preparatory position for yoko geri keage. It could be thought of as a tuck
jump with one leg kicking out. It is important to synchronize the zenith of the
jump with the tuck of the support leg, with the extension and impact of the
kicking leg. A good way to practice this is to have a partner hold the extended
kicking leg out while the person executing the kick jumps, pulling the support
leg into the final position.
Roundhouse Kicks
The roundhouse (or turning) kick gets its name from its characteristic motion,
which is horizontal to the floor. It is designed to kick around opponents and hit
them from the side.
Mawashi Geri
Mawashi geri, or roundhouse kick. The later part of the preparatory position is shown on the left, and the
final kick position is shown on the right, with the transition in the middle. Note that the shank (shin bone)
moves parallel to the floor as the kick is executed.
Mawashi geri, the roundhouse kick, could be called a sideways front kick. The
preparatory position has the kicking leg high and tight to the back (my pet name
for this kick is “dog taking a pee kick” for this reason), the shin parallel to the
floor, the foot dorsiflexed, and the femur in a straight line from the knee to the
opposite hip. This position is maintained as the hips are rotated, and the
supporting leg drives toward the opponent; this is achieved by rotating the
supporting leg so that the foot is pointing away from the opponent, as in yoko
geri kekomi. This has the effect of driving the body center toward the target.
The kicking leg simultaneously extends toward the opponent as the body
rotates in an arc. Ideally, impact is made at the same time as the heel of the
supporting foot connects with the floor after its rotation. If done correctly, the
shin bone of the kicking leg runs out on a smooth arc that is parallel to the
floor, giving the illusion that the shin “telescopes” from the knee joint. The
kicking weapon can be either the ball of the foot or the instep. To kick high, the
hip must be opened wider in the load so that the femur is open and the whole
femur and shank point to the target. It is not sufficient to simply point the knee
toward the target. The shin in its arc must always remain equidistant from the
floor.
Ura Mawashi Geri
Ura mawashi geri, or hook kick, is the opposite of the roundhouse kick
(mawashi geri) in that, rather than taking an outside-to-outside path, it takes an
inside-to-outside path to the target. (Because it mirrors mawashi geri in this
way, I include it in this section.) The simplest way to achieve this is to simply
do a yoko geri kekomi kick and aim to the other side of the opponent’s body.
That is, if you are kicking with the right leg, kick to the left of your opponent so
the heel is next to your opponent’s face. Next, bend the knee and hit the
opponent with the heel or sole of the foot while retracting the hips. As it is
practiced more, the kick becomes much more fluid, but it is important not to
make it too relaxed and “floppy,” especially through the knee joint.
Back Kicks
Back kicks are the most powerful class of kicks in karate. They derive their
power from the buttocks and using the heel as a striking surface.
Ushiro Geri
Ushiro geri, or back kick, is very similar to what a horse does when someone
walks behind it. To execute the kick, the knee is lifted as in mae geri, and the
leg then drives straight backward, brushing the knee of the support leg. At the
point of contact, the back flexes, and the foot is pointing downward. The
striking surface is the heel.
Conclusion
While there are many other variations of kicks—hooking, spinning, and
jumping—it is important to practice the basic five kicks: mae geri, yoko geri
keage, yoko geri kekomi, mawashi geri, and ushiro geri. If these kicks are
practiced consistently, it becomes obvious that they supply the mechanics for
all other kicks. Therefore, it could be argued that all other kicks simply derive
from these basic five.
References
Bremaeker, M. D., and R. Faige. Essential Book of Martial Arts Kicks. Tokyo: Tuttle Publishing, 2010.
Kanazawa, H. Black Belt Karate: The Intensive Course. Tokyo: Kodansha International, 2006.
Nakayama, M. Best Karate. Vols. 5–6. New York: Kodansha USA, 1979.
Nakayama. M. Dynamic Karate: Instruction by the Master. Tokyo: Kodansha International, 1966.
Nishiyama, H., and R. C. Brown. Karate: The Art of “Empty-Hand” Fighting. Boston: Tuttle
Publishing, 1960.
Okazaki, T., and M. V. Stricevic. The Textbook of Modern Karate. New York: Kodansha International,
1984.
Otsuka, H. Wado Ryu Karate. Hong Kong: Masters Publication, 1997.
Yamaguchi, G. Goju Ryu Karate Do Kyohan. Hamilton, ON: Masters Publication, 1999.
CHAPTER 8
Uchi: Striking Techniques
Uchi are a class of karate hand techniques that are often taken to be
synonymous with striking. They are best described by their path of movement
to the target relative to the long bone of the forearm (1). This means that in
most cases the path is perpendicular to the forearm, and the striking surface is
on one of the sides of the forearm or hand.
Principles of Uchi
Since the striking surface is often on the side of the limb, a variety of angles
can be used to attack the target. In addition, the use of keage, kekomi, and ate
(see chapter 18) can be employed across a variety of techniques, allowing
many of the strikes to hit the target in multiple ways. In order to do this
effectively, several universal principles need to be observed.
The first is the rotation of the radius and ulna. They need to be rotated
sharply from a fully supinated to a fully pronated position, or from a fully
pronated to a fully supinated position between the beginning and the end of the
technique. This allows for the muscles of the forearm to tense at the same time
as the hips and driving leg, using the breath to synchronize the tensing of these
components. This also allows for the weapon to be completely formed at the
point of contact.
The second is to understand what type of hip motion is being employed with
which strike (see chapters 13 to 15). Snap (keage), thrust (kekomi), and
smashing (ate) will have differing connections to the hip movement. In
addition, as discussed in chapter 18, reinforcement of the body varies for each
mode of hitting the target. While the individual movements will be discussed
later, it is important to remember this point.
The third important point is to make sure that the correct weapon is used for
the technique. It is vital that the weapon be tense and strong at the point of
contact, otherwise the striking limb can be injured on impact.Finally, understand how the final position of the strike connects to the torso
and which muscles are engaged to hold the humerus and forearms in strong
positions for the impact. Generally, these will be the same as in punching
(tsuki) (chapter 6) and can be summarized as follows: only fully contract the
chest (pectoralis) and back (latissimus dorsi) muscles at the point of impact.
Contract them equally while letting the shoulders relax at the conclusion of the
technique. Having a strong connection to the torso is important to get the body
weight behind the strike.
Types of Strikes
Strikes can generally be divided into three categories: fist (kobushi), open
(kaisho), and elbow (hiji). Fist strikes (kobushi uchi) hit the opponent with a
closed hand, but not with seiken (the front two knuckles). Open strikes (kaisho
uchi) are with an open hand but not with any weapons that are in the thrusting
motion; striking surfaces are the surfaces of the hand that are not at the end of
the long bone such as nukite. Hiji uchi, or elbow strikes, are powerful
weapons and hit, of course, with the elbow.
The discussion of uchi is based from Okazaki Shihan’s book Textbook of
Modern Karate, as it has a superior listing of techniques compared to many
other resource materials (1–7). However, where appropriate, I have included
information from the others.
Fist Strikes (Kobushi Uchi)
The most common fist strikes (kobushi uchi) use uraken or tettsui (chapter 2) as
weapons. Uraken refers to the backfist, and in particular the back of the front
two knuckles. Of the uraken there are two types: otoshi uraken (downward
backfist) and soto uraken (outward backfist). Tettsui refers to the bottom of the
fist. Of the tettsui, there are four varieties: uchi kentsui (inward hammer), soto
kentsui (outward hammer), otoshi kentsui (downward hammer), and kentsui
hasami (double hammer).
Otoshi Uraken Uchi
Otoshi uraken, or downward backfist, is a smashing (ate) or thrusting (kekomi)
striking technique. Quite often it moves in direct rotation with the hips; that is,
the elbow moves in the same direction as the hip. It is initiated by moving the
arm to an age uke, or rising block position; the elbow then drops sharply and
directly downward to the same final position as in a cross block (soto ude uke
—see next chapter); the elbow is about one fist width off the hip. In the
process, the forearm is fully supinated to expose the backfist (uraken). The
strong connection to the hip and strong forearm position (ninety degrees from
the humerus) ensure that this technique is able to take full advantage of the
body weight. In addition, the technique is normally in line with the base of
support (rear leg) or is performed with a dropping motion to use gravity (e.g.,
Heian yondan movement #13 at the first kiai).
Soto Uraken Uchi
Soto uraken, or outward backfist, showing the semicircular path of the attacking limb.
Soto uraken, or outward backfist, is a keage, or snapping technique; therefore,
it does not require a large base of support since it does not have to absorb
much reaction force. The technique can be loaded in a lower block (gedan
barai) type of load, where the arms cross in front of the body in a push-pull
motion. The striking hand can be either above or below the covering
(nonstriking) hand, depending on the application. The elbow pushes directly
toward the target while the forearm is in a fully pronated position. Once the
elbow is extended to its full position (pointing directly at the target), the elbow
straightens, extending the forearm. The radius and ulna are supinated to expose
uraken. The extension path should be soft and natural to the joint and on the
angle comfortable for the practitioner. As soon as contact is made, the arm is
snapped back to the bent elbow position and the forearm is pronated back.
While the snapback is sharp, it is vital that it be relaxed and natural. If it is
“muscled back,” it will be more difficult to execute the follow-up technique.
The hips snap and, depending on circumstance, can be forward or reverse
rotation, but the body center always moves toward the opponent.
Interestingly, the technique can be changed a little for advanced
practitioners by shifting from a natural fighting posture (kamae) using uraken to
begin an attack. The hand that is out does not need to initially pull back to a
preparatory position. In a real encounter this would be too slow. Rather,
directly lift the elbow to point at the target while snapping the technique
directly out and relaxing back. This integrated movement requires a thorough
understanding of the basic movement described above.
Uchi Kentsui Uchi
Uchi kentsui, or inward hammerfist strike, is a strong ate or kekomi type of
technique. Generally, it moves in a direct rotation with the hip and takes a path
similar to the outside cross block (soto ude uke) (e.g., the shuto version is
shown in the section “Uchi Shuto Uchi,” below). The load is the same as in
soto ude uke, with the humerus parallel to the ground. The wrist is fully
pronated. The elbow swings downward on a direct diagonal motion
accompanied by the hips moving to a half-facing position (hanmi), as if the
elbow and hip were connected by a piece of string, while the wrist supinates
to expose the hammerfist (tettsui). If the technique is completed on the gyaku
side, the final position is shomen.
Soto Kentsui Uchi
Soto kentsui, or outward hammerfist strike, is also a strong smashing (ate) or
thrusting (kekomi) technique. This loads the same way as soto uraken;
however, tettsui is exposed rather than uraken, and the technique is not snapped
back (the shuto version of this technique is shown below under “Soto Shuto
Uchi”). Depending on distance and initial position, both direct rotation and
translation movement of the hip can be employed. Distance to the target can
also dictate how far the striking arm can extend. If the target were farther away,
the practitioner would fully extend the elbow and use a forward stance with the
hips half facing (zenkutsu dachi hanmi). If the opponent were close, the elbow
would only be extended to a ninety-degree position and horse-riding stance
(kiba dachi) would be used.
Otoshi Kentsui Uchi
Otoshi kentsui, or downward hammerfist strike, is almost identical to otoshi
uraken, except that the hammerfist is exposed rather than the backfist.
Kentsui Hasami Uchi
Kentsui hasami, or double hammerfist strike, is a strong double-handed strike
generally used to attack the floating ribs. To execute the technique, both hands
are raised in a double rising block (age uke) position with the wrists fully
pronated. Then the elbows are dropped sharply and directly to the sides, and
the forearms are rotated to a fully supinated position. Since there is no hip
rotation in this technique, it frequently uses other methods to derive power
from the body center, including translation, elevation, and core connection. For
this reason, it is often completed in a front-facing forward stance (zenkutsu
dachi shomen).
Open-Handed Strikes (Kaisho Uchi)
Open-handed strikes include many kinds of strikes that do not use a closed fist.
While there are many surfaces of the hand that can be used (see chapter 2), the
focus here will be on shuto, haito, and teisho. Shuto refers to the blade edge of
the hand between the wrist and the start of the little finger. Haito refers to the
same region of the hand but on the thumb side. To make haito, it is important to
tuck the thumb completely into the palm of the hand to expose the striking
surface. Teisho refers to the palm heel of the hand and can refer either to the
“meaty” part of the palm or the edge where the hand joins the wrist when the
hand is extended upward.
Otoshi Shuto Uchi
Otoshi shuto uchi, or downward knife-hand strike, is the classic “karate chop.”
It is completed with much the same motion as otoshi kentsui uchi; however, the
hand is open and the knife hand or shuto is the striking surface.
Uchi Shuto Uchi
Uchi shuto uchi, or inward knife-handstrike. The preparatory position is shown on the left, and the final
position is shown on the right.
Uchi shuto uchi, or inward knife-hand strike, often moves in direct rotation
with the hips. The preparatory position is similar to soto ude uke, except that
the hand is in a shuto position with the wrist fully pronated. Since the head or
neck is often the target, the elbow moves in a direct line to the target and the
arm extends as the wrist sharply supinates. The hand hits the target at a thirty-
to forty-five-degree vector, driving the target both back and on the angle.
Soto Shuto Uchi
Soto shuto uchi, or outward knife-hand strike. The preparatory position is shown on the left, and the final
position is shown on the right.
Soto shuto uchi, or outward knife-hand strike, often moves in a reverse rotation
or vibration with the hips. (For the concept of hip vibration, see chapter 14).
The beginning position of the hand is similar to knife-hand block (shuto uke),
with the striking hand across the body, palm facing the ear. The elbow then
drives toward the target, and the arm extends, pronating the wrist to expose the
striking surface (shuto). For this strike, the opposite hand does not need to be
used as a covering hand in the normal push-pull motion. Generally, if
practitioners have the luxury of using a full rotation from front face (shomen) to
half face (hanmi), they will use a full covered load. If they are already in
hanmi, they will just use core connection to execute the strike and not make use
of a covering hand.
Uchi Haito Uchi
Uchi haito uchi, or inward ridge-hand strike, is performed from the normal
beginning position of choku zuki (straight punch), with the fist in a fully
supinated position and the hip in half face (hanmi). The hip then rotates to full
face (shomen), and the hand is released from the hip and extends naturally in an
arcing angle with the hip. Meanwhile, the wrist rotates to a fully pronated
position with the palm down, exposing the ridge hand, which makes contact
with the target—usually the temple or the neck—at a ninety-degree angle.
Soto Haito Uchi
Soto haito uchi, or outward ridge-hand strike, is similar to uchi haito uchi,
except the hand rotates from a pronated position in the load to a supinated
position for the strike.
Age Teisho Uchi
Age teisho uchi, or rising palm-heel strike, is almost more of a thrust than a
strike since the attacking surface is in line with the forearm. The technique is
almost identical to a straight punch to the face (choku zuki jodan), except that
the hand is flexed and the fingers are tucked to form the palm heel (teisho)
weapon. The target for this attack is anything prominent, such as the underside
of the jaw or the nose.
Uchi Teisho Uchi
Uchi teisho uchi, or inward palm-heel strike, rotates with the hips. This
technique begins in the choku zuki position described above for uchi haito
uchi. As the hip rotates to full face (shomen), the hand is released from the hip,
and the arm arcs with the hip as it extends. The wrist remains almost in a
relaxed flexion. At the point of contact, which is triggered by the hip
connection, the wrist extends and tenses as the hand forms teisho.
Elbow Strikes (Hiji Uchi)
Elbow strikes are a very strong weapon in karate, primarily due to their
increased connection to the body through a short lever. In addition, the elbow
is a hard weapon that can be used to hit a target with a lot of force. One
important point, however, is to make sure the wrist is in the correct position
(fully pronated) when the elbow strikes. This wrist position tightens the
tendons in the forearm and elbow, and makes the weapon less prone to
damage.
Side elbow thrust, or yoko empi uchi.
The major differentiating factor in hiji (empi or elbow strike) uchi is the
direction or vector along which the elbow travels. We will discuss five
different types of elbow (empi) strikes: mae (front), yoko (side), tate (rising),
otoshi (downward), and yoko mawashi (side round).
Interestingly, some hiji uchi do not hit the target perpendicular to the
forearm, which is required for strikes. But each hiji technique begins in a way
that is similar to its corresponding strike (through an arc). This is true even
though in some cases (yoko, mae otoshi) the hiji technique makes contact
parallel to the forearm. For this reason, all hiji or empi techniques fall under
uchi.
Mae Empi Uchi
Mae empi uchi, or front elbow strike, is interesting in that the final weapon
forms well in advance of the actual strike, and it is the body’s translation into
the target that delivers the impact. This type of technique is a true smashing
technique (ate waza), literally smashing through the target.
The technique begins in the normal front punch (choku zuki) position
chambered on the hip. While stepping forward into a half-facing forward
stance (zenkutsu dachi hanmi), the hand is rotated so that it sits palm down in a
fist on the breastbone, with the elbow pointing directly forward. Ideally this
shape is formed well before contact with the target. The rear leg then can drive
the elbow directly into the target. Note that the arm does not need to move once
in position; it just needs to be held in the preformed position for this technique
to be effective.
Yoko Empi Uchi
Yoko empi uchi, or side elbow strike, is performed from kiba dachi. It is
executed in a manner similar to soto uraken uchi, except that the arm does not
extend to expose the backfist. Rather, the wrist pronates so that it first stops
directly over the nipple closest to the target—see the illustration above in the
section “Elbow Strikes (Hiji Uchi).” This biological landmark is extremely
useful for aligning the elbow in the front-to-back planes and ensuring correct
alignment of the elbow to the body. In addition, it is vital to connect the horse-
riding stance (kiba dachi) properly at the point of impact. This allows the
drive of the elbow forward to couple with the translational motion of the hips
connecting to a solid base at impact.
Tate (Age) Empi Uchi
Tate (age) empi uchi, or rising elbow strike, is completed with a direct rotation
of the hips. It begins in a choku zuki preparatory position on the hip. The elbow
drives forward and upward while the hand rotates—still tightly connected to
the humerus—from a supinated to the pronated position by the ear, with the
palm adjacent to the ear. Care must be taken not to punch oneself at the
conclusion of the technique.
As the technique is executed, it is important to keep the elbow fully flexed
and not to allow it to extend. Keep the hand close to the shoulder throughout.
Exceptions to this rule can include striking the opponent with the fist as the
technique extends. For example, one could use ura or tate zuki, then in the same
motion transition to tate empi uchi.
Otoshi Empi Uchi
Otoshi empi uchi, or downward elbow strike, is identical to otoshi uraken
uchi, with the exception that the wrist remains fully pronated at the point of
contact.
Yoko Mawashi Empi Uchi
Yoko mawashi empi uchi, or round side elbow strike, begins in a choku zuki
preparatory position on the hip. It is executed in a direct rotation with the hip
from a half-face (hanmi) to a full-face (shomen) position. As the hip rotates,
the fist pronates as the elbow arcs round, so that the fist ends on the breastbone
if the technique is executed in half-face forward stance (zenkutsu dachi hanmi).
Conclusion
While there are many other strike variations using different weapons (for
example, haishu uchi), it is important to note that generally they can come from
one of four angles: to either side, up, or down. This means that, depending on
the weapon, they can be executed using an uchi, soto, age, or otoshi
preparatory position and execution. In addition, it is important to remember
that the final rotation of the wrist and movement of the hips help time the
technique and connect it to the body.
Notes
  1. E. Schmeisser, Advanced Karate-Do (St. Louis: Focus Publications, 1994).
  2. G.Funakoshi, Karate Do Kyohan: Master Text for the Way of the Empty Hand (San Diego:
Neptune Publications, 2005).
  3. H. Kanazawa, Black Belt Karate: The intensive Course (Tokyo: Kodansha International, 2006).
  4. M. Nakayama, Dynamic Karate: Instruction by the Master (Tokyo: Kodansha International, 1966),
308.
  5. H. Nishiyama and R. C. Brown, Karate: The Art of “Empty-Hand” Fighting (Boston: Tuttle
Publishing, 1960).
  6. T. Okazaki and M. V. Stricevic, The Textbook of Modern Karate (New York: Kodansha
International, 1984).
  7. R. L. Rielly, Secrets of Shotokan Karate (Boston: Tuttle Publishing, 2000), x, 246.
CHAPTER 9
Uke: Blocking Techniques
Introduction to Uke
The word uke is derived from ukeru, which literally means “to receive” but
can also mean “catch,” “undergo,” “be exposed to,” “preparedness,” “stop or
parry a blow,” “block,” or “sustain a hit” (gojublogger.com). This class of
techniques, along with dachi (stance), uchi (strike), tsuki (thrust), and keri
(kick), together make up the total arsenal of fundamental karate-do techniques.
Generally, uke requires that the hip move the body in a rotational fashion, often
to the hanmi, or half-face position, along with a cross-body elbow movement.
Oftentimes these movements allow the practitioner to parry or block an attack,
but they can also have a wider spectrum of applications and can be used as
strikes, locks, or thrusts to incapacitate an opponent. This is why “to receive”
seems far more accurate as a translation for uke compared to the usual
translation, “block,” that is prevalent in most dojo.
This chapter focuses on the basic uke of karate-do. We will discuss how
these movements can have multiple applications for a single movement and
how the movements can be applied in multiple ways. This serves as an
example for all karate techniques.
The Five Basic Uke of Karate and Their Mechanics
When beginners start in Shotokan karate, they are taught five basic uke. These
are lower block (gedan barai), rising block (age uke), outside cross block
(soto ude uke), inside cross block (uchi ude uke), and knife hand (shuto uke).
Gedan Barai
Gedan barai, or lower sweep. The preparatory position is shown on the left, and the final position is shown
on the right.
Gedan barai literally means “lower sweep,” and it refers to the movement of
the elbow and arm moving in a diagonal direction from shoulder to hip,
crossing the body in the process. The final position has the blocking arm
straight and the elbow one fist width from the closest hip, while opposite hand
sits on the hip. The motion of the block draws the blocking hand across the
body from where it is initially placed at the opposite ear, and the other hand is
pushed straight out in front. The block is executed by sweeping the elbow
across the body as the opposite hand is pulled back in a roughly diagonal
sweeping motion. To complete the movement of the block, the radius and ulna
bones of the blocking forearm must be rotated away from the body to connect
the technique. When executed from an initial front hip facing position, the hip
moves in the opposite direction to that of the block. This is reversed when the
block initiates in a half-facing position and the body rotates in the same
direction as the block.
Age Uke
Age uke, or rising block. The preparatory position is shown on the left, and the final position is shown on
the right.
Age uke means “rising block,” and refers to the motion of the block moving in
a rising fashion. It is loaded by putting the covering hand in the final position
of the block, with the hand open in a shuto (open-handed) position (see
below), while the opposite fist is sitting on the hip. Age uke is executed by
driving the hand on the hip, following the rotational motion of the hip, like an
uppercut, keeping the elbow close to the body. The hand that had been the
raised blocking hand in the initial position now moves back to the hip (the
covering hand) in time with the blocking hand. It is important to not drop this
hand too early, as it can be used to keep the head covered throughout the
motion. Once the blocking hand is level with the chin, the radius and ulna are
rotated away from the body, which rotates the forearm from a vertical position
relative to the floor to a forty-five-degree position. The elbow moves in a
straight, vertical line in the same direction as the hip movement. The final
position for the elbow is the same as kizami zuki. The fist position of the final
block is a fist and a thumb’s length from the forehead, and the wrist is in line
with the nose.
Soto Ude Uke
Soto ude uke, or cross block from the outside, moving inward. The preparatory position is shown on the
left, and the final position is shown on the right.
Soto ude uke means “cross block from the outside, moving inward.” Like age
uke, the elbow in soto ude uke moves in the same direction as the hip. The
preparatory position for the block has the covering arm straight out in front,
while the humerus of the blocking arm is held parallel to the floor to the side.
The forearm is fully rotated so that the fist is facing away from the body and
can be held either at right angles or tucked close to the ear. The block is
executed by rotating the hip to half face (hanmi). The blocking hand is dragged
downward with the hip as the covering hand is drawn back to the hip. The
blocking elbow is drawn downward. By combining the hip movement with the
dropping of the elbow, the block moves in a diagonal direction across the
body. The arm does not shift laterally in the shoulder joint during the
movement. The downward motion of the blocking hand rotates the radius and
ulna toward the body center, connecting the hand to the body. The final position
for the block has the draw hand (the hand pulling back to the body) on the hip,
with the blocking elbow one fist width from the hip and the forearm at ninety
degrees to the humerus. The forearm and fist are fully rotated toward the body,
and the arm is somewhat perpendicular to the floor, with the gap between the
middle and ring finger in line with the nose.
Uchi Ude Uke
Uchi ude uke, or cross block from inside, moving outside. The preparatory position is shown on the left,
and the final position is shown on the right.
Uchi ude uke means “cross block from inside moving outside.” The
preparatory position has the covering hand straight out in front of the body,
while the blocking hand sits across the body near the hip, palm down. The
block is executed by pulling the covering hand back to the hip, simultaneously
moving the opposite elbow horizontally across the body while the hip moves
in the opposite direction. The forearm is rotated quickly so that the fist faces
inward while it is simultaneously pushed outward and away from the body. In
the final position, the elbow is one fist width off the hip, and the forearm is
ninety degrees from the humerus, facing inward, where the gap between the
middle and ring finger is in line with the nose. The blocking hand always
moves to the outside of the retracting covering hand.
Shuto Uke
Shuto uke, or knife-hand block. The preparatory position is shown on the left, and the final position is
shown on the right.
Shuto uke is very similar dynamically to gedan barai, with the exception of the
final position. The preparatory position is the same. It is dynamically similar
to gedan barai as well, with the exception of the final position. In the final
position, the covering hand is not drawn completely back to the hip but rather
to the midline of the body, just below the xiphoid process in the shuto position
(palm up). The blocking hand rotates the forearm completely away from the
body (palm away), and the elbow finishes one fist’s distance from the body, the
forearm at ninety degrees from the humerus and the hand in the shuto position.
Normally, the hips move in the opposite direction to the hip.
The table at the end of this chapter shows that most of these blocks have
several points in common.First, the blocking elbow moves from one side of
the body to the other in the movement—up and down, side to side, or
diagonally. Second, the covering hand is always out in front of the body in the
preparatory position. Third, the hips move with the block when the blocking
hand is loaded to the outside of the body; it does not cross the midline. The
hips move opposite to the block when the blocking hand travels across the
body—in other words, when the hand needs to cross the midline. Finally, the
final position of the elbow is one fist width off the front hanmi hip (with the
exception of age uke).
The Principle of the Five Uke and Their Relation to Other
More “Advanced” Blocks
The final position of many of the five blocks can be executed at different
levels. For example, uchi ude uke can be executed at two levels in addition to
the normal chudan, or stomach, level (elbow one fist width from the hip).
Jodan uchi ude uke, or upper inside cross block, is executed at a final position
where the humerus is shoulder height, with the forearm at right angles and the
fist pointing outward from the body. Gedan uchi ude uke, or lower inside cross
block, is performed the same way as regular uchi ude uke, except the final
position of the blocking arm is one fist width from the hip and the forearm has
a slight curve at the elbow as compared to the standard ninety-degree bend. It
is rotated outward. This illustrates that the principle behind the block can be
maintained irrespective of technique. Each of the five basic blocks can be
analyzed similarly.
Based on the idea that the principle of the movement is almost more
important than the technique itself, it is apparent that often more-advanced
blocks—those introduced later on in karate training—are simply derived from
the five basic blocks. Some simple examples include morote uke, or augmented
block, which is simply an augmented uchi uke using the draw hand for support
on the blocking hand. Juji uke, or x-block, is simply a gedan barai coupled
with gyaku zuki. Jodan haiwan uke, ude soete (the block from the first
movement from Heian nidan) is a combination of jodan uchi ude uke and age
uke.
Application of Five Basic Blocks Using Gedan Barai as an
Example
By the nature and complexity of their movement, blocks can represent an
opportunity to receive the opponent, no matter what attack was delivered, and
counter with a variety of movements. The block in itself may therefore
represent a very comprehensive method for self-defense. For example,
consider gedan barai. The technique has two major parts: the preparatory
position and the execution. These parts consist of both arms moving in different
(often opposing) directions in a contracting (load) and expanding (execution)
movement. By employing every part of the movement at a number of ranges, it
is possible to apply the principles behind these techniques in many ways.
The complete gedan barai movement consists of multiple parts, each of
which can have a separate meaning. This is especially true in relation to an
opponent. Each part of the technique can be associated with blocking an attack
directed at a different target. In addition, the block can also become a strike, a
joint lock, or a throw.
Gedan barai begins with the hips square to the front, with one hand across
the body and the fist by the ear. The opposite hand is straight out in front and
can be in the lower- or middle-level straight punch or gedan or chudan choku
zuki position. Both hands and movement can be analyzed. The hand moving to
the ear can be used as a tsuki on the way by taking a straight path out to an
opponent’s midsection. The movement to the ear can also be used as a
sweeping block (nagashi uke), with either the flat of the hand or the fist striking
the opponent’s attacking weapon. The opposite hand thrust can be a reverse
punch (gyaku zuki), a punching block (zuki uke), or a reverse lower block
(gyaku gedan barai). In the execution of gedan barai, the blocking hand sweeps
down the extended arm as it pulls back to the hip. This movement can either be
gedan barai or a hammerfist strike (tettsui uchi). Therefore, it is possible to
strike an opponent three times with this block. For example, if an attacker went
to punch a defender in the face, the defender could attack when the opponent
attacks (sen no sen timing) and hit the attacker as the punch is initiated by
striking directly to the abdomen. Then the punch to the face could be blocked
with nagashi uke. Simultaneously, the defender can hit with the opposite hand
using choku zuki, and then the loaded (nagashi uke) hand could strike down
with tettsui uchi. Gedan barai also allows defenders to completely cover their
body at the jodan, chudan, and gedan levels using gyaku gedan barai (chudan),
nagashi uke (jodan), and gedan barai (gedan). No matter where the defender is
attacked, there is a possible defense.
In addition to these classical strike/block/punch defenses, if the target area
is brought closer, the techniques of gedan barai can be used as a joint lock or
to break a grip. Either hand can be grabbed, and gedan barai can be used to
strike the hand using the gedan barai itself. Alternatively, the movement of the
blocking hand being brought up to the ear is sufficient to break the grip. In
addition, if the defender uses the gyaku gedan barai as a block and then traps
the attacker’s hand, the defender may strike the elbow joint (on either side) of
the opponent’s arm to move him into a more compliant posture. It is also
important to point out the hikite, or pulling movement, of the draw hand
returning to the hip, especially after trapping an attacker’s hand. The hand rolls
inward as it pulls back to the hip, also rotating the opponent’s arm and
presenting additional targets along the arm, or positioning the body in such a
way that the attacker is unbalanced.
If the range is brought closer, so that the defender is standing hip to hip with
the opponent, then the gedan barai may be used as a reaping throw (see chapter
10) over the defender’s front leg. Or, alternatively, if the opponent grabs the
defender from behind, the load hand (up by the ear) may be used to grab the
opponent and the block may be executed as a hip throw.
Can These Concepts Be Carried Further?
This different way of thinking about blocks can also be carried over to
virtually any karate technique, including thrusts, strikes, and kicks. This
demonstrates that karate, while outwardly simple, is very complex. There are
many ways its techniques can be applied, depending on distance, angle, and
relative body position. Additionally, it is important to remember that every
part of the movement can be used to some degree in defending oneself. This
includes all transitional movements for both the attacking and the draw hand,
as well as any leg and hip movement. The variety is only limited by the
practitioner’s imagination.
References
INTERNET
http://gojublogger.files.wordpress.com/2012/03/uke1.jpg
BOOKS
Funakoshi, G. Karate-Dō Kyōhan: The Master Text. Tokyo: Kodansha International, 1973.
Nakayama, M. Best Karate. Tokyo: Kodansha International, 1977.
Nakayama, M. Dynamic Karate: Instruction by the Master. Tokyo: Kodansha International, 1966.
Okazaki, T., and M. V. Stricevic. The Textbook of Modern Karate. Tokyo: Kodansha International, 1984.
CHAPTER 10
Kuzushi: Techniques of Breaking
Balance
To break an opponent’s balance (kuzushi), his center of gravity needs to be
moved out of the base of support. In karate there are many techniques that can
be used to do this. In chapter 12, we will discuss the theory of center of gravity
and how balance is maintained and broken. While techniques for breaking
balance abound in karate, they are not always stressed and must be drawn out
of the techniques that have multiple applications. So let us briefly look at some
techniques drawn from arts that make heavy use of breaking balance. In
particular, we will discuss some of the specialized techniques in judo and
aikido andthen translate these principles back to Shotokan karate.
Types of Techniques That Break Balance
Before discussing balance-breaking techniques useful in karate, it is
worthwhile to think about judo and aikido. Mikami Takayuki sensei once
pointed out to me that the difference between karate and judo was simply in the
fighting strategy. In karate we hit, then take the opponent to the floor, whereas
in judo the opponent is first taken to the floor, then hit.
Judo
The judo curriculum has major parts: nagae-waza (throws), katame-waza
(immobilizing, strangling, dislocation, or key holds), and ate-waza (blocks and
strikes). Of the three, nagae-waza is the most important for our discussion
about breaking balance. Nagae-waza is broken down into tachi-waza (standing
throws) and sutemi-waza (throws from the ground). Tachi-waza includes ashi-
waza (foot or leg throws), koshi-waza (hip throws), and te-waza. There are
two kinds of te-waza: shoulder throws and hand-and-arm throws. Throws from
the ground (sutemi-waza) come in two varieties as well: ma-sutemi-waza
(throwing with one’s back on the ground) and yoko-sutemi-waza (throwing
with one’s side on the ground) (1, 2).
In addition, judo has kata based on these throws. The one of particular
interest for this discussion is the nagae-no kata, which contains fifteen basic
throws3 (three throws from each of the five categories) (1, 2). They are as
follows:
Te-waza (arm throws) Uki-otoshi (floating drop)
 Kata-seoki (shoulder throw)
Kata-guruma (shoulder wheel)
Koshi-waza (hip throws) Uki-goshi (floating loin)
Hara-goshi (sweeping loin)
Tsuri-komi-goshi (lift pull loin)
Ashi-waza (foot and leg throws) Okuri-ashi-barai (sweeping ankle throw)
Sasae-tsuri-komi-ashi (propping, drawing,
ankle throw)
Uchi-mata (inner thigh)
Ma-sutemi-waza (falling or sacrifice throw with one’s back
on the ground)
Tomoe-nage (stomach throw)
Ura-nage (rear throw)
Sumi-gaeshi (corner throw)
Yoko-sutemi-waza (throws effected with one’s side on the
ground)
Yoko-game (side body drop)
Yoko-guruma (side wheel) Uki-waza
(floating throw)
The key point in this discussion is that by looking at the curriculum of judo,
we can start to identify key principles for breaking balance that are applicable
to karate. In judo, the two fundamental points are: (1) be able to pull
opponents’ center of gravity outside of their base. It is best not to use strength
on strength but rather to have an understanding of the strong and weak points of
their stance and exploit it. (2) Understand the fulcrums of both your own and
your opponents’ body that allow you to manipulate them to a correct throwing
position. In judo, these fulcrums are the feet, ankles, knees, hips, shoulders,
and head.
Aikido
Broadly speaking, aikido has two types of techniques: immobilizations and
projections (3). In basic aikido, there are seven immobilizations (ikkyo, nikyo,
sankyo, yonkyo, gokyo, shoho nagae, and kote gaeshi) and many projections
(twenty-eight are listed in reference 3). An immobilization is defined as the
defender maintaining contact with the aggressor throughout the immobilization.
A projection is defined as the defender losing contact with the aggressor after
the technique is applied. Immobilizations and projections can be used in
combination to allow for defenses against many forms of attack.4
Aikido relies upon both of the key points mentioned above for judo. For
point 1, moving opponents’ center of gravity beyond their base, this is done
through a refined dynamic sphere of movement that moves the opponent through
their weak point or in the direction they are moving, in a circular fashion. For
point 2, understanding fulcrums, aikido makes keen use of the wrist, elbow,
shoulder, hip, knee, ankle, and neck.
Karate Throws
In Karate-Do Kyohan, Funakoshi Gichin mentions throwing techniques (4). He
names nine techniques in particular. (The names of the techniques vary
depending on the translation of Karate-Do Kyohan. For this book we are using
the 2005 translation by Suzuki-Johnson and not the translation by Oshima
sensei.) The first is called byo-bu daoshi (folding screen topple). In judo this
technique is similar to o-soto-gari (major exterior reaping). The second is
koma-nage (spinning top throw). In aikido this motion is similar to ikkyo. The
third is kubi-wa (neck ring), which is similar in principle to many of the aikido
neck manipulations. The fourth is kata-sha-rin (shoulder wheel), which is
similar to o-soto-guruma (major outer wheel). The fifth is tsubame-gaeshi
(swallow return), which is similar to the yama-arashi (mountain storm) of
judo. The sixth is yari-dama (spearing throw), which looks similar to kata-sha-
rin but expands the opponent’s extended arm rather than using the opponent’s
neck as a fulcrum. It is similar to the judo technique kata-guruma (shoulder
wheel). The seventh is called tani-otoshi (gorge drop); this is almost identical
to uki-goshi (floating loin) used in judo. The eighth is ude-wa (arm ring),
which seems not to have an equivalent in judo or aikido but is very similar to
the “shoot” used in shoot fighting in Brazilian jujitsu. The ninth is gyaku-zuchi
(upside-down hammer), similar to the judo kata-guruma (shoulder wheel).5
Funakoshi Throws and Proposed Equivalents
Funakoshi
Technique
Proposed Equal Judo/Aikido
Technique Kihon Shotokan Estimate
Byo-bu daoshi O-soto-gari Oi zuki
Koma-nage Ikkyo Soto ude uke
Kubi-wa Aikido neck projections Mawashi zuki
Kata-sha-rin O-soto-guruma Manji uke
Tsubame-gaeshi Yama-arashi Juji uke (applied in reverse position)
Yari-dama Kata-guruma Gedan barai
Tani-otoshi Uki-goshi Gyaku zuki performed during mawate
Ude-wa “Shoot” in Brazilian jiu-jitsu Gedan barai during mawate
Gyaku-zuchi Kata-guruma Uchi uke
While Funakoshi formally describes these techniques, it is easy to see that
they are simply applications of basic Shotokan karate techniques. For example,
the table below shows the approximate correspondence among techniques from
Funakoshi, judo and aikido, and Shotokan. This indicates the strong
conservation of movement across Shotokan techniques that can be applied
differently depending on the distance or body position the technique can be
applied at. As one studies the kata, possibilities for throws and locks become
more apparent in the rotations, blocks, punches, strikes, and kicks.
Foot Sweeps
One other important set of balance-breaking techniques somewhat represented
in judo but much more refined in karate are the ashi barai, or foot sweeps (5).
These techniques are based on unbalancing opponents by directly interfering
with their base. This is achieved by sweeping the foot along a weak line of
technique. This is generally the line where balance is the weakest; for
example, when the opponent is stepping forward, the weak line of technique is
in the direction from heel to toe. Therefore, a sweep along this direction
pushing the heel away from the opponent will result in unbalancing. The
distribution of the opponent’s weight is also important to consider, especially
if the opponent is stationary or in transition. This can be achieved either by
attacking the foot with less weight on it if the opponent is stationary (back leg
of zenkutsu dachi) or, alternatively, attacking as the weight is transitioning onto
the weight-bearing leg (e.g., just before the front foot of zenkutsu dachi is being
placed). There are two major types of sweep: to the front or rear leg (the front
leg sweep is pictured below) and to both legs (5).
Ashi barai, or foot sweep.
Sweeps are very effective tools for a number of reasons. In the best-case
scenario, the opponent will lose balance and fall to the ground. In a worst-case
scenario, the opponent will feel the sweep attempt on their foot and
momentarily lose concentration, allowing for an opening. In many cases, the
normal effect is somewhere in between, where the opponent loses some
balance but is able to recover. However, during that time opponents are
focused on their balance and not on the personin front of them, leaving them
open to attack.
As briefly discussed above, normally the foot is swept in the direction that
expands the limb away from the body center (often the way it is pointing; for
example, the opponent’s front foot of zenkutsu dachi should be shifted from
heel to toe direction, and not to the side). This direction is easier to move and
expands the opponent’s base in an unexpected direction. If swept toward the
body center (to the side or too high), the technique could be ineffective—or, in
a training situation, too effective, leading to injury to your partner’s knee or
ankle.
Mental Balance
The concept of foot sweeps brings up one other important point. Balance is a
biological priority. We humans have adapted to standing upright, so if our
balance is threatened, our recovery can take precedent, often to the detriment
of the task at hand. While this topic is discussed in chapter 11, here let it be
said that the value of techniques that leverage this reflex cannot be overstated.
It is important to work with students to make them more comfortable with
losing balance. Careful instruction about what to do when in an unbalanced
situation can lead to better control of their mental focus and less disruption
overall. In this connection, practice in breaking falls (ukemi), as well as
actually being thrown or swept, can be beneficial.
Important Principles (What Have We Learned?)
By investigating aikido and judo, we have learned several major concepts
important in breaking physical balance (kuzushi).
The first is to move opponents’ center of gravity outside their base, creating
an unstable equilibrium. In judo, this is done by creating a tsuri-komi (or lift
pull), while in aikido it is through the use of the dynamic sphere. The key is not
to use force on force, where stronger opponents will win, but rather to move
them in the direction they are already moving or in a direction where they are
weak or not reinforced. In addition, the entire body, especially the body center,
must be used for this purpose.
The second major point is that both judo and aikido use the main joints as
leverage. These include the neck, shoulder, elbow, wrist, hip, knee, and ankle.
With respect to the head, hip, and knee, a simple movement can go a long way
toward shifting the opponent’s center of gravity. An additional point is that, in
general, it is better to be in a more stable position than the opponent (e.g., in
the case of the hip throw, the thrower’s hips should be lower than the
opponent’s).
Through our study of karate, especially kata, we can easily see that karate is
rife with throwing and unbalancing applications. With simple techniques,
depending on distance and body position relative to the opponent, throwing
applications can be applied with ease.
Finally, it can be seen that techniques for breaking balance are important,
especially since any modification to opponents’ stability can override their
attention to the task at hand. This can break their mental balance and allow the
practitioner to decisively take the advantage.
Notes
  1. H. Klinger-Klingerstorff, Judo & Judo-Do (London: H. Jenkins, 1953), 144.
  2. T. Otaki and D. F. Draeger, Judo: Formal Techniques (Tokyo: Tuttle Publishing, 1983).
  3. A. Westbrook and O. Ratti, Aikido and the Dynamic Sphere (Hong Kong: Tuttle Publishing Co.,
1970).
  4. G. Funakoshi, Karate Do Kyohan: Master Text for the Way of the Empty Hand (San Diego:
Neptune Publications, 2005).
  5. M. Nakayama, Best Karate (Tokyo: Kodansha International, 1977).
 
PART II
Principles of Karate Techniques
CHAPTER 11
How the Body Works: Joints and
Muscles
The skeletal muscles and joints of the body exist to provide an articulation
system for the skeleton and are a means of locomotion for the body. In the
mammalian body plan, muscles are arranged in agonist-antagonist fashion. This
can be likened to two opposing springs. They are set up this way because
muscles can only contract or shorten. The mechanisms by which muscles
contract will not be discussed here, but the sliding filament hypothesis is a
wonderful story involving interesting players, including myosin, actin, calcium,
endoplasmic reticulum, ATP, and many other biological terms. The major point
is that in order for a limb to extend, it requires the shortening of one muscle,
the agonist, and the relaxation of the opposing muscle, the antagonist. For the
same limb to retract, the roles of the muscles reverse.
The body has several major skeletal muscle configurations. Each type
allows for slightly different movement. The first configuration is circular; these
muscles surround openings of sphincters. The second types are convergent, the
muscle fibers converging to a single spot where they connect to the bone to
maximize the force of muscle contraction (the trade-off is that they do not
contract over a long distance). The third type is parallel. In this case, the fibers
are lined up parallel to the bone and joint they are articulating. This gives them
a long distance for contraction, but they are not very strong. The forth type is
pennate, of which there are three types: unipennate, bipennate, and
multipennate. Since they are arranged at an angle, somewhere between ten to
eighty degrees relative to the bone and joint they are articulating, they produce
very short but strong contractions. The fifth are fusiform, which are muscles
that are parallel and slightly wider at their centers; this wider center allows for
stronger contractions.
Major muscle configurations of the body.
Muscles connect to the skeleton via tendons at key points that allow for
articulation or movement. The human skeleton is made up of 206 bones, and
ligaments connect these bones to each other. The point at which each bone is
connected is called a joint. There are several types of joints in the human body,
each allowing for different kinds of articulation. The first type is called a pivot
joint. This allows rotational movement, such as the rotation of the radius and
ulna at the wrist (allowing for wrist rotation). The second type is a hinge joint,
which allows for flexion and extension along a single axis, such as elbows and
knees. The third type of joint is the ball-and-socket joint, which allows
movement along three axes: flexion and extension, rotation, and adduction
(drawing near the trunk) and abduction (drawing away from the trunk).
Examples of these joints are the hips and shoulders.
Pronation vs. supination of the wrist.
How these can relate to karate movements, in particular to hand techniques,
is important to understand. First, we will discuss how the arm extends (for
example, in a punch), then how it retracts, such as in the final position for a
block or in a preparatory position for a punch. Next, the major muscles and
joints connecting the arm to the torso will be discussed.
Muscles and Joints Involved in Moving the Wrist
The wrist has two major positions (using the pivot joint of the radius and ulna),
fully pronated and fully supinated. Pronation is when the wrist is fully rotated
toward the body with the palm down and thumb rotated toward the body. This
is the final wrist position in an extended straight punch (choku zuki). In order
to fully pronate a wrist, the pronator teres muscle needs to be contracted while
its antagonist, the supinator, needs to relax. Supination is when the wrist is
fully rotated away from the body with the palm up and thumb away from the
body. This is the final wrist position in soto ude uke. In order to fully supinate
a wrist, the muscle that needs to be contracted is the supinator, while its
antagonist, the pronator teres, needs to relax.
Generally, in karate the wrist is kept parallel to the forearm; however, in
some techniques the wrist needs to be bent upward or downward. Several sets
of muscles in the forearm help to articulate the hand by flexing downward
(flexion) or extending upward (extension). The extensor carpi radialis and the
brachioradialis let the wrist extend if ina supinated position with the hand
open. If in a supinated position with the fist closed, the extensor digitorum and
anconeus are employed. To flex the wrist back toward the body as in a palm
heel strike (taisho uchi), the extensor digitorum, extensor digiti minimi, and the
extensor carpi ulnaris are used.
Bending and Extending the Elbow
Extending the arm distally away from the body involves straightening the arm.
This requires the hinge joint of the elbow to move through a flexion or
straightening movement. In turn, this requires the triceps brachii, located on the
underside of the humerus, to contract and the biceps brachii to relax. The
opposite is true during extension: the biceps brachii, located on the upper side
of the humerus, contracts and the triceps brachii relaxes.
How Is My Arm Connected to My Trunk?
In order to extend the arm in a shomen position, as in a straight punch, or choku
zuki, the arm is extended distally at a right angle from the torso. The major
muscles that are involved, from arm to torso, are the anterior deltoids,
pectoralis major, the latissimus dorsi, and the serratus anterior. At the same
time, the muscles of the abdomen (rectus abdominis and external oblique) are
also employed to allow the creation of intra-abdominal pressure (IAP; see
chapter 14). To retract the elbow, as in the preparatory position for choku zuki
and ushiro empi, the rear deltoid, trapezius, rhomboids, and latissimus dorsi
are employed.
Major muscles used to connect the arm to the trunk.
In short, the deltoids are used to pull and stabilize the shoulder joint, the
pectoralis major pushes the shoulder girdle outward, and the latissimus dorsi
and the serratus anterior contract the shoulder girdle downward, connecting the
arm to the trunk. The trapezius and rhomboids pull the shoulder girdle
backward toward the spine. As you are performing these techniques, it is
important to be aware of the way these muscles articulate the skeleton. This
means that in extending the arm distally from the body, one must only contract
the muscles needed for extension. The muscles not involved in this motion
need to be completely relaxed.
In the hanmi position, with elbow one fist from the hip (either straight or
bent), as in soto ude uki or gedan barai, the major muscles employed are the
middle deltoids, the pectoralis major, the latissimus dorsi, the serratus
anterior, trapezius, and rhomboids. The number of muscles employed in this
position makes it clear why this position is so stable and connected to the
body. In a hanmi position, with a raised elbow, as in age uke or kizami zuki,
the trapezius is also employed. But there is some loss of the contribution of the
pectoralis major, which is why age uke is somewhat weak relative to a force
from the left or right.
Muscles and Joints Involved in Moving the Lower Body
Following this general explanation of joints and muscles, we can now explain
how these can relate to movements useful in karate, leg techniques in
particular. First, we will see how the leg extends in a kick or the driving rear
leg in zenkutsu dachi. Next we’ll discuss the retraction or bending of the leg, as
in the load position for a kick or the bent leg in a stance. We will then examine
the major muscles and joints involved in how the leg then connects to the hip,
which will in turn drive the body center forward and add power to the
technique.
Flexion of the Ankle
In karate, the ankle joint can be either plantar flexed (flat relative to the shin)
or dorsiflexed (pulled back toward the shin). In addition, the ankle can be
supinated, as in the final position for yoko geri keage.
The major muscles involved in plantar flexion of the ankle are the
gastrocnemius, soleus (calf), tibialis posterior, fibularis brevis and longus,
flexor hallucis longus, flexor digitorum longus, and plantaris. When performing
mae geri, the toes also need to be pulled back. This is achieved by relaxing the
flexor hallucis longus and contracting the extensor halluces longus. The major
muscles involved in dorsiflexion are the tibialis anterior, extensor digitorum
longus, extensor hallucis longus, and peroneus tertius.
Extension and Flexion of the Knee
The primary muscles involved in the straightening of the knee joint are the
quadriceps, including the vastus lateralis, rectus femoris, and the vastus
medialis. The primary muscles involved in the flexion of the knee joint
(bending the leg) are the hamstrings, semimembranosus, biceps femoris, and
semitendinosus. As with the biceps-triceps antagonist relationship, the
quadriceps-hamstrings are in the same relationship. Therefore, in order to
extend the leg quickly, the quadriceps need to be shortened and the hamstrings
must be completely relaxed.
Connection to the Hip
In karate we often mistakenly refer to the hip as a moving joint. The hip girdle
does not move. Rather, it is the head of the femur in the ball-and-socket joint in
the hip that completes the movement. It is the muscles that connect the legs to
the hips that move the hip. This type of movement is akin to having two
toothpicks one inch apart in the base of a potato and pushing and pulling on the
toothpicks so that the potato rotates.
Major muscles used in yoko geri kekomi.
To move the leg directly behind the body (as in ushiro geri or the back leg
of zenkutsu dachi), the gluteus maximus must be innervated and, to a lesser
degree, the gluteus medius on the side. To lift the leg out to the side in a yoko
geri kekomi position, the gluteus medius and to some extent the gluteus
maximus are primarily used. As the leg moves to a yoko geri keage position,
the gluteus medius and the tensor fascia latae come into play. The gluteus
medius and the tensor fascia latae are often called the abductors. The leg is
lifted into a mae geri position with the help of the iliopsoas, which is made up
of the psoas major, the liacus, and the quadriceps. The rectus femoris and
satoris can also be used to a lesser degree. Muscles that allow the leg to move
inward are the adductor brevis, adductor longus, adductor magnus, and the
gracilis, all collectively known as the adductors. The psoas major and iliacus
muscle can also innervate an upward tilting of the hip.
Major muscles used in the hip.
The psoas major is an interesting muscle since it connects from the spine to
the front of the hip. In mice, this muscle is composed of fast type II twitch
fibers, a type of muscle that completes fast-twitch actions. However, in humans
it contains both slow and fast-twitch fibers. This could be part of the reason
why the hip motion in karate takes a long time to develop: the fast-twitch fibers
in this deep hip muscle need to be developed over time.
One important consideration for any techniques involving the leg and hip
muscles is that it is paramount to spend time stretching these muscles. For this
reason, a deep understanding of the agonist-antagonist relationship is
important.
Dynamic and Static Contraction
Finally, we should note the difference between dynamic and static muscles. As
we have discussed previously and will discuss in depth in chapter 13, it is
important to reconcile both acceleration and speed with mass, two seemingly
opposing concepts, to create force or momentum. Therefore, it is also
important to understand not only the agonist-antagonist relationship in terms of
creating the movement of the limb toward the target, but also the stabilizing
muscles during the impact phase of the technique. Of particular importance
during the impact phase are the torso muscles involved in intra-abdominal
pressure (IAP) and the associated core muscles used in the final stabilization
at the finish of the technique, such as the latissimus dorsi in choku zuki.
It is crucial, then, to know what muscles are used in each technique (only
use those muscles and relax all others) and the order in which they need to be
fired. This can only be achieved through constant practice of karate.
References
Link, N., and L. Chou. The Anatomy ofthe Martial Arts: An Illustrated Guide to the Muscles Used in
Key Kicks, Strikes, and Throws. Berkeley, CA: Ulysses Press, 2011.
Marieb, E. N., and K. Hoehn. Human Anatomy and Physiology. 9th ed. New York: Pearson, 2012.
CHAPTER 12
How the Body Works: Balance
Balance and the center of gravity are central to locomotion and therefore
central to karate training. In some respects, walking could be defined as
organized falling, where you unbalance forward and your feet catch up to
prevent the fall. Therefore, understanding the center of gravity and being able
to control one’s body center provides a key to both efficient movement from
one position to another and to unbalancing an opponent. This chapter will
discuss the concepts of center of gravity and balance, along with their effects
on equilibrium, stability, and mobility.
Center of Gravity
The center of gravity (CG) is defined as the balance point of the body. It is the
single point where all forces on the body equal zero. This means that in all
three axes (top to bottom, left to right, and front to back), the forces acting on
the body are zero and all rotary forces (forces coming from the muscles) are
balanced. One way to think about this is to imagine a ball placed at this point
(center of the body). If you look through a camera toward the center of the
person and move the camera in any direction while still looking toward the
person’s center, the ball will not shift position from your perspective.
Illustrated as a ball, this diagram shows where the center of gravity is located.
The other important point about the CG is that if the body shifts in terms of
shape or posture, the CG will also shift in location. For example, the CG of a
person standing at attention in heisoku dachi is located a few inches below the
belly button and a few inches inside the person. If they lift both arms upward
so they are straight out in front, the CG will shift forward a few inches. Thus,
the CG changes depending on what different parts of the body, called segments,
are doing. In addition, depending on the shape of the body, the CG does not
necessarily need to be inside the body (see the illustration in the next section).
With this in mind, the location of the CG will differ slightly depending on
the shape, build, sex, and age of the individual. For example, a male and
female’s CG are approximately 57 percent and 55 percent of their standing
heights, respectively.
Equilibrium, Stability, and Balance
Generally, when an object is at rest it is in equilibrium; this means that all
forces acting on it are balanced. Therefore, the sum of all linear forces and all
torques is equal to zero. However, not all objects at rest are equally stable.
Someone standing on one foot in a balanced position will have less stability
even though she is at equilibrium compared to when she is standing with both
feet on the ground with the feet shoulder width apart.
An object has stable equilibrium when an effort to disturb it would require
its CG to be raised. So if you have a brick lying on its side, you would have to
lift the brick to disturb it. An unstable equilibrium involves the opposite: a
slight disturbance will drop the object’s CG to a lower point, normally from a
smaller to a larger base of support. Imagine the same brick balanced on its
edge. A slight disturbance would cause it to fall. In judo and karate, the
concept of kuzushi, or unbalancing, means creating an unstable equilibrium.
The idea is to push or pull an opponent to create an unstable equilibrium.
Finally, a neutral equilibrium is when an object’s CG is neither raised nor
lowered when it is disturbed. This is part of the reason one moves in zenkutsu
dachi without raising or lowering the hips. In this way, stability is not
compromised.
The center of gravity moves as the body changes position. In order to maintain balance, the center of
gravity must remain within our base of support.
We can achieve a more stable equilibrium by ensuring that our CG remains
within our base of support. This is easier to do if we have a larger base of
support. In practical terms, this means the farther apart our legs are, the more
stable we will be. For example, we are much more stable in zenkutsu dachi
compared to renoji dachi or heisoku dachi. One important consideration, since
humans are bipedal, is that our base of support is normally a band between the
feet. This explains the weak angles of different stances. Kiba dachi, for
instance, is very stable in the side-to-side direction, but unstable front to back.
This is because the base of support is longest from foot to foot, so it is easier
to keep the CG within the base of support when resisting lateral forces.
Another way to increase stability is to make use of the vertical center of
gravity. Simply put, it is easier to move the CG away from the base of support
if there is a longer lever. If the CG is low to the ground, then it has to move
along a much steeper angle to become unstable. However, if the CG is high up,
then it is much easier. To take a simple example, think about cutting a lock.
Bolt cutters with a longer handle are easier to maneuver because they have a
longer lever, while short-handled bolt cutters are much harder to use because
of the short lever.
Mass and friction can also jeopardize stability. Generally, it is harder to
destabilize a larger mass than a smaller mass. Friction, or the force resisting
movement due to contact with the ground (think slippery ice versus rough
concrete), is important in that the amount for friction that is required to
destabilize an object is directly related to the size of the base of support and
the nature of the surface. For example, the greater the contact with the ground,
the harder it is to destabilize the object.
Other Factors?
Humans, being bipedal, spend a lot of their time moving and adjusting their
body parts to the type of equilibrium required by the task at hand. They do this
by adjusting their center of gravity. This is natural and one of our basic motor
skills. While all of the aforementioned factors play a role in balance, there are
additional factors.
Physiologically, our eyes govern our perception of balance. If we are in a
stable environment with unstable visuals (e.g., on a stable bridge but crossing
a fast river), our sense of balance may be disturbed. In addition, when the
semicircular canals in our ears are affected by colds and the like, our balance
can also be affected.
Principles of Stability
According to Hamilton et al. (see under references), there are nine basic
principles of stability:
1. The lower the CG, the greater the body’s stability.
2. Greater stability is obtained if the base of support is widened in the
direction that force is being applied.
3. For maximum stability, the line from your center of gravity to the floor
should intersect the base of support at a point that will allow the greatest
range of movement. Ideally, this will be in the direction of the forces
causing motion.
4. The greater a body’s mass, the greater will be its stability.
5. The most stable position of a person is one in which the backbone and
CG lies in a vertical line centered over the base of support.
6. The greater the friction between the supporting surface and the parts of
the body in contact with it, the more stable the body will be.
7. A person has better balance when moving under difficult circumstances
when the vision is focused on stationary objects rather than on disturbing
stimuli.
8. There is a positive relationship between one’s physical and emotional
states and the ability to maintain balance under difficult circumstances.
9. Regaining equilibrium is based on the same principles as maintaining it.
The Link between Stability and Mobility
Finally, there exists an inverse relation between stability and mobility. As
noted above, walking can be thought of as controlled organized falling, where
the CG is shifted forward beyond the base of support, creating instability. In
orderto compensate, the leg swings through to reestablish that base. The net
result is forward movement.
Therefore, practitioners should develop the ability to control changes from
stability to instability and back at will. In karate this is often referred to as
controlling your center. In short, to increase speed at the start of a movement,
the CG should be as close to the edge of a base of support as possible, while a
quick stop requires a large base of support. This is exemplified by zenkutsu
dachi, where the front ankle is tucked under the body, creating a large bend
through the front knee. This has the effect of shifting the CG close to the edge of
the base of support under the front leg.
Finally, it is important to stress the fundamental ability in karate to control
one’s center of gravity. The simplest way is to maintain a straight
perpendicular posture relative to the floor. Small shifts in the torso, such as
moving the torso away from an angle that is perpendicular to the floor, can
result in marked shifts in the CG, making the body center and thus balance
much harder to control. It is useful to imagine the body center and the CG as
the same thing. Do everything possible to keep your posture straight and move
your CG and body center together as one unit. This way you can rotate and
move in a controlled fashion. For many, this is the single hardest thing to
master.
References
Hamilton, N., W. Weimar, and K. Luttgens. Kinesiology: Scientific Basis of Human Motion. 12th ed.
New York: McGraw-Hill, 2011.
Marieb, E. N., and K. Hoehn. Human Anatomy and Physiology. 9th ed. New York: Pearson, 2012.
Nakayama, M. Dynamic Karate: Instruction by the Master. Tokyo: Kodansha International, 1966.
Okazaki, T., and M. V. Stricevic. The Textbook of Modern Karate. New York: Kodansha International,
1984.
Otaki, T., and D. F. Draeger. Judo: Formal Techniques. Tokyo: Tuttle Publishing, 1983.
CHAPTER 13
Biomechanics: How Do I Hit
Something Hard?
Kinesiology is the study of human movement; it includes physiology,
mechanics, and psychology. It can be applied to biomechanics, strength and
conditioning, sport psychology, rehabilitation, and sport science (1). Master
Nakayama began reconciling traditional karate with modern kinesiology, which
led to a more scientific approach to the performance and teaching of karate
techniques (2, 3).
This chapter will provide a brief introduction to the application of
kinesiological principles to karate. Body structure and articulation will be
introduced first. The basic principles of biomechanics and how they can be
applied to karate in the context of the question of “How can I hit something
harder?” will also be discussed.
Body Structure According to Biomechanics
The human body consists largely of a central trunk or core and four limbs. In
terrestrial bipedal animals, two of these limbs, the legs, are used for
locomotion, while the other two, the arms, are used to articulate the
environment or objects. Additionally, humans have an endoskeleton consisting
of 206 bones that are articulated by a complex set of agonist-antagonistic
muscle groups.
Each limb has the same three general structures. The structure closest to the
trunk is a stylopod (humerus/femur), which connects the hip/shoulder girdle
through the ball-and-socket joint of the shoulder to the hinge joint of the elbow.
The zeugopid (radius, ulna/tibia, fibula) connects the hinge joint of the elbow
to the wrist bones. Furthest from the body, the autopod (carpals/tarsals) makes
up the hand and foot.
From a biomechanical standpoint, the body can be viewed as a flexible
core cylinder with smaller articulated cylinders, one for each of the stylopod,
zeugopid, and autopod, representing each limb.
Action of Muscles, Tendons, Ligaments, and Skeleton
The endoskeleton of the human body is articulated by a complex set of muscles
that are connected to the bones by tendons. Ligaments hold the individual
bones together.
As we discussed in the previous chapter, muscles are set up in groups so
that they are in an agonist-antagonist relationship to each other. They are set up
this way because muscles can only shorten; therefore, all articulation of the
skeleton is through the shortening of the muscles or due to the effect of gravity
(4).
This means that the body is constructed of a series of levers (1). A lever is
defined as a rigid object used on an axis to multiply either the mechanical
force (effort) or the resistance force (load) applied to it. The efficiency of a
lever is called the mechanical advantage (MA). MA can be calculated by
dividing the effort arm (EA) by the resistance arm (RA) (MA = EA/RA). Simply
put, the greater the MA the less effort required. There are three components to a
lever: the axis (or fulcrum), the recessive load (or weight), and the force
(effort). It is the location of these components that determines mechanical
advantage. Location of the fulcrum makes levers either first, second, or third
class. Therefore, levers can be first, second, or third class.
Different levers of the human body.
First-class levers are when the fulcrum is located between the force and
load. In this case, there is no mechanical advantage. Second-class levers have
the load between the fulcrum and the force. This means that the force lever arm
is always greater than the load lever arm. These types of levers give a
mechanical advantage. Third-class levers are when the force is applied
between the fulcrum and the load. This means that the load lever arm is always
greater than the force lever arm. These types of levers provide a mechanical
advantage of less than one (this represents a seesaw with two people of equal
weight on either end where the force in equals the force out). It is interesting to
think that many of the levers in the human body are third-class levers that have
a disadvantage when it comes to effort and load. In short, it is like having a
seesaw where one person is much closer to the center fulcrum than the other.
Simply put, the person who is closer will have more work to do in lifting the
person who is farther away. However, this is only true when one considers the
movement at the end of the lever. Simply put, using third-class levers allows a
small arc of motion proximally at the muscle insertion point but creates larger,
faster movement at the far end of the arm (i.e., the person at the long end of the
seesaw will move much farther and faster than the person on the short end).
This makes the use of class-three levers very efficient in terms of human
motion and karate.
Motion Types
In basic biomechanics, two types of motion are prevalent. The first is linear
motion. This is motion in a straight line, from one point to another. Linear
motion uses linear Newtonian physics. A slight variation of linear motion is
curvilinear motion, which is in a straight line but takes a curved path. The
second type is angular motion. This is when all parts of the body move through
the same angle, in the same direction and at the same time, but do not move
through the same distance. This type of motion is governed by rotational
physics.
Biomechanics and the Great Conundrum of Karate
Physics, especially Newtonian physics, explains a lot about how karate works.
Variables such as speed, velocity, acceleration, force, and momentum (both
linear and angular), and the relationship among them, can be directly applied to
everyday training. In addition, gravity, center of gravity, base of support, and
whether the motion is active (generated by muscle contraction) or passive
(movement is caused by another factor, such as gravity) also play important
roles and should be considered.
Speed and velocity are defined as distance divided by time. The difference
between the two is that velocity has directionality (vector) associated with it.
Both can be defined using the following formula: s = d/t or v = d/t, where s =
speed, v = velocity, d = distance, and t = time.
Acceleration is measured as the change in speed divided by changein time
in a particular direction. This allows a measure of how much velocity is
increasing over a given time. Generally, if acceleration is positive, then the
object is speeding up; if acceleration is decreasing, the object is slowing down
toward or away from an object.
Force is a measure of the influence on an object to undergo change. For
example, to move an object, a force needs to be applied that is greater than the
amount that can push back (due to friction, or mass). Force is equal to
acceleration times mass and is represented by the formula F = ma, where F =
force, m = mass, and a = acceleration.
Momentum is a measure of how much energy carried in a moving object can
be transferred to the target. It is defined by p = mv, where p = momentum, m =
mass, and v = velocity.
The final concept is that of kinetic energy, or Ek. Kinetic energy is the
energy an object possesses due to its motion. It is defined by the formula Ek =
½mv2, where kinetic energy is equal to half the mass of the hitting object
multiplied by the velocity of the hitting object squared.
In practical martial art terms, force and momentum are the “weight of the
hit.” For example, a statement like, “He hit like a train” would indicate a large
amount of force and momentum being delivered to the target. Kinetic energy
would be the penetrating energy that is absorbed by the object. The feeling of
“Man, he hit me and I felt it explode out of my back” is an example of a hit
with high kinetic energy.
The important points about these latter three formulas are the relationships
between fast movement or acceleration and mass. Both of these elements need
to be maximized to create the greatest possible momentum or force that can be
applied to a target. This is one of the great conundrums of karate. A karateka
needs to throw a fully relaxed technique (free from antagonistic muscle
intervention), but then maximize the full body mass at the point of impact rather
than just the mass of the attacking limb. As martial artists, we are taught to
relax throughout the technique. This allows us to greatly speed up the
technique. However, if we hit with a completely relaxed arm or foot, we will
lose the crucial component of having the full body weight behind the technique.
Conversely, if we “muscle” the technique (by using both the agonist and
antagonist muscles together) we will greatly slow the technique, decreasing its
impact. Either way, we want to find a way to maximize both speed and mass at
the point of impact.
 Starting
Increase mass
by 50%
Increase
speed by
50%
Starting mass m (kg) 10 kg 15 kg 10 kg
Starting velocity v (m/s) 10 m/s 10 m/s 15 m/s
Momentum p = mv (kg m/s) 100 kg m/s 150 kg m/s 150 kg m/s
Percentage increase in
momentum compared to starting
mass and speed
50% 50%
Kinetic energy 500 J 750 J 1,125 J
Percentage increase in kinetic
energy compared to starting
mass and speed
75% 112.5%
This then raises the question of which is more important to develop, mass
or speed? By comparing the momentum and kinetic energy formulas, and
testing them with some simple numbers, we can see an interesting trend (shown
in the table below). If we have an object that weighs 10 kg (22 lb) and it is
moving at a velocity of 10 meters per second (m/s), which is about 30 ft/s, we
will have a momentum of 100 kg m/s and a kinetic energy of 500 Joules (J). (A
Joule is just the standard unit of measurement for kinetic energy. It is equal to 1
kg m2/s−2, but you don’t need to know that. What is important is to notice the
relationship between mass, velocity, and kinetic energy, and that the bigger
momentum and the bigger kinetic energy, the better.) If we then increase the
mass by 50 percent to 15 kg and leave the velocity at 10 m/s, the momentum
will increase by 50 percent to 150 kg m/s, and the kinetic energy will increase
by 75 percent to 750 J. If we now reduce the mass back to 10 kg but increase
the velocity by 50 percent to 15 m/s, we now get a momentum increase of 50
percent to 150 kg m/s, but our kinetic energy more than doubles to 1,125 J.
This is illustrated in the table below. As it shows, by working on both mass
and speed we can increase our momentum; however, to develop our
penetrating power it is more useful to work on speed. Therefore, based on this
relationship, it is obvious that as good martial artists we need to concentrate
on developing both speed and mass. We will now spend some time discussing
the development of each.
How Do I Become Faster?
To get faster, the practitioner works on several areas. In short, they are the
relaxation of the antagonistic muscles, the building of fast-twitch muscle,
flexibility, correct paths of motion, and the good use of hips or the body center.
Relaxation of Antagonistic Muscles
In order to make speedy movements, it is vital that only those muscles actually
involved in the movement be innervated. As we stated earlier in this chapter,
since muscles can only pull, all muscles are set up with an agonist and an
antagonist, like a pair of counter springs. Therefore, any innervation of the
antagonistic muscle will fight the movement of the agonist and thus slow down
the movement. For example, if you are trying to straighten your arm, you need
to completely relax your biceps while innervating your triceps. Any
innervation of the biceps will result in a slowing of the movement. It can be
seen in the graph showing speed vs. distance of a technique that as our limb
moves over a certain distance to the striking surface, we will build speed;
however, “muscling” the technique will cause us to fire the antagonist muscles,
forcing the technique to slow down and in fact be in a state of deceleration
compared to when we hit the target versus a state of acceleration and therefore
developing greater speed in our relaxed state.
Different ways a karate practitioner can maximize speed.
When thinking of an isolated set of muscles, such as those involved in the
biceps/triceps relationship, this process is fairly simple. But when thinking
about a complex movement such as oi zuki that requires stepping the body
forward into choku zuki and all of the subtle movements that result in hip
vibration, the focus of relaxation is no longer simple. However, the fact is that
even in this case, only muscles involved in forward motion need to be
working. The simplest way to work on this is to break down each movement,
study the muscles being used, and determine if that muscle needs to be flexing
at that time in the movement. Then work on relaxing unneeded muscles, and
step by step the movement will become more fluid and relaxed.
Graph showing speed vs. distance of a technique. In a relaxed technique (dark line), the speed increases
until the target is hit. In a muscled technique (light line), the technique is slowing as the target is hit.
(Adapted from Schmeisser, 1994.)
It is also important to point out that one needs to be relaxed at the beginning
of any movement. From kamae, or ready position, every muscle should be
relaxed, and there should only be enough tension in the body to hold the
posture in place. Any excess tension will need to be relaxed before the body
can go into motion, and this limits speed.
Building Fast-Twitch Muscle
In the body, there are several different types of muscle fibers: the type I, or
slow oxidative (SO); the type IIA, or fast oxidative/glycolytic (FOG); and the
type IIX, or fast glycolytic (FG). Of these, the SO muscle fibers have a slow
twitch speed and a relatively small twitch force but are very hard to fatigue.
On the other hand, the FG muscle fibers have a fast twitch speed and a large
twitch force but fatigue easily. The FOG muscle fibers are intermediary to
these two types and have a fast twitch speed, medium twitch force, and are
fairly hard to fatigue (5).
Individual muscle fibers are set at birth and can vary by race. This means
that an individual cannot build new muscle fibers but can develop and increase
the thickness of them. Therefore, an individual is geneticallyrestricted in terms
of the ratios of these three muscle fiber types. An individual can, however,
develop one muscle fiber type in a muscle individually. For example, if
someone has 50 percent SO and 50 percent FG fibers, he or she can work,
through training, to develop one muscle fiber type over another, thereby
developing the ratio of SO to FG in the total mass from 50/50 to 72/25 (5).
In order to develop speed, the practitioner needs to develop FG fibers. In
general, lifting either a heavy weight with slow acceleration or lifting a lighter
weight with fast acceleration can achieve this. This can make use of classical
heavy weight training, plyometrics, agility drills, sprints, and medicine ball
training.
Development of Flexibility
Flexibility refers to the lengthening of the muscles. Simply put, the longer the
muscle can stretch, within reason, the greater the range of movement. In
addition, flexibility helps with the counter-spring architecture of the muscles in
that the antagonist is free and long enough to move through its range. Flexibility
also helps prevent muscle pulls and strains.
There are many different forms of stretching (6). Ballistic stretching uses
body weight to bounce into the stretch. This kind of stretching, however, has
been shown to actually tighten up the muscle and can thus cause injury, and
therefore it should not be practiced. Dynamic stretching uses controlled
movements to take you to the range of your stretch. With active stretching, you
assume a position and hold it using the agonist muscle. Many of the movements
in yoga are based on active stretching (7). Passive/static stretching has you
assume a position and use alternative limbs, a partner, or some other apparatus
to hold the stretch. This type of stretching is very good for cooling down. In
isometric stretching, the antagonist muscle is used to help facilitate the stretch.
An example of this type of stretching is proprioceptive neuromuscular
facilitation (PNF). To do this type of stretching, one sets into a position, then
pushes against the stretch. For example, if you are stretching your hamstrings,
push your leg down into the floor tensing the quadriceps for ten seconds, then
relax, and you will be able to move farther into your hamstring stretch. This
type of stretch develops muscle in the antagonist while developing the
proprioceptors (the structure in the muscle that signals that a muscle is being
stretched) as well as lengthening the agonist. Children should not do PNF or
isometric stretching, as their bones and tendons are still developing.
In general, karate training makes use of active stretching through the use of
deep and strong karate stances. This is very similar to yoga movements (e.g.,
the active stretching in warrior I is like the stretch in zenkutsu dachi shomen,
and the stretch in warrior II is similar to zenkutsu dachi hanmi). In addition, the
movements in kicks and punches are good dynamic stretches. A skilled
instructor will lead a warm-up and cool-down to include elements of active,
dynamic, passive, and (depending on the class) occasionally isometric
stretching.
The Development of the Correct Paths and Timing of Motion
In order to have good speed, the movement must be efficient. The adage “the
shortest distance between two points is a straight line” is especially true here,
since distance in the correct direction is a key component of speed. Simply put,
changing direction during a movement reduces speed because of the change in
the vector of movement. The difference can be thought of as a ten-pin blowing
ball rolling directly down the lane versus bouncing off lane bumpers. If two
balls are moving at the same speed, the zigzagging one will take much longer to
reach the end because it is traveling a longer distance. This concept needs to
be applied to every part of the body. The attacking weapon needs to move
along its vector, whether arc or straight line, directly toward the target, while
the body center also needs to travel directly toward the target. Every joint
articulation needs to happen in the correct sequence and direct the technique
toward the target.
Developing this type of neuromuscular control requires the practitioner to
pay close attention to which muscles fire and in what order. This requires
careful analysis of body mechanics and ensuring that every part of the
technique is helping the weapon move directly toward the target with no
excess movement. Bruce Lee is often quoted as saying, “The object of martial
arts is to simplify.” Nowhere is this adage truer than here.
Once the analysis is complete, the practitioner needs to drill and repeat the
movement numerous times. It is only through continued focused practice of
correct movement that the right neuromuscular pathways can be entrenched.
The correct movement literally needs to be drilled into the subconscious. This
can take a long time, but as long as practitioners are aware of what they are
doing and working toward it, they can achieve this.
Correct Recruitment of the Hips and Body Center
The hips are the origin of power in karate. They coordinate and provide the
link among timing, control of body center, and the articulation of the upper and
lower body for all techniques and movements in karate. There are several
ways a practitioner can move the hips, including translation, elevation, direct
and reverse rotation, and vibration. These five concepts will be discussed at
length over the next three chapters.
By virtue of their location, the hips house the body center, often called seika
tanden in karate. This point is located approximately two inches below the
navel and two inches inside the body and should be constantly in the
practitioner’s mind when training. When striking a target, the body center
should be in motion directly toward that target and never moving in any other
direction, otherwise speed will be lost. Quite often, speed in karate means the
speed of the hips and not the speed of the limbs.
Hip and striking limb must move together through the duration of the technique. Left: preparatory position,
showing the final positions of both the hip and fist (horizontal bars). Middle: hip and arm in the final
positions at the conclusion of the technique. Right: both the hip and arm must move together throughout the
entire technique. Because the hip moves a short distance, the arm must move very quickly.
The hips develop speed of technique since they function as a small lever.
Simply put, they move a very short distance, while the limbs need to move a
longer distance. Therefore, in order to hit a target while the body center and
hips are in motion, the practitioner needs to work on timing of techniques in
such a way that the striking weapon moves through its complete range of
motion before the hips finish moving. This means that in a typical reverse
punch, or gyaku zuki, the hips may move a total distance of one foot while the
arm moves a total distance three times that. The arm, then, has to move three
times as fast to have correct timing.
An example of the hip and arm working together, in this case throwing a ball.
Practitioners often misinterpret speed as their hand or foot speed, but in
actuality it is the speed of the hips that is important. In short, provided a
practitioner has good timing between the hands or feet and hip, as described
above, it can be argued that speed in karate should be defined by the speed of
the hip. This just makes sense because the hip and body center are the fulcrum
of all movement in karate; the faster the hip moves, the faster the limbs have to
move to keep up. This can be difficult to develop and will take some time. The
reason is that the muscles that work the hips are primarily slow oxidative
muscles and are not often suited to fast-twitch movement.
How Do I Develop Mass?
While we have spent a great deal of time discussing speed and its importance,
it is also vital to discuss mass as well. All of the formulas we have discussed
above concerning speed (or acceleration)are multiplied, not added together to
produce the resulting metric. This means that even if we generate as much
speed as possible, if we do not couple it to our mass, then our resulting impact,
whether measured in kinetic energy or momentum, will be reduced. After all, a
million m/s multiplied by zero kilograms is still zero.
One of the central concepts of karate is the correct application of power,
and this leads to one of the greatest conundrums in the martial arts. When and
where to apply mass is key to correctly coupling mass and speed. Many
beginners muscle their way through a technique; that is, they try throw as much
muscle mass toward the target as possible. Unfortunately, this has the effect of
simply innervating the antagonistic muscle group and slowing the technique
down.
Here we will introduce methods to correctly apply mass to our techniques.
The actual coupling will be introduced briefly here but will be discussed in
depth in chapter 17. In short, there are several ways to increase mass: being
bigger, moving the body center toward the target, proper final alignment of
technique, correct connection of the upper and lower body, and correct
coordination and timing of the technique.
Being Bigger
One of the easiest ways to increase mass is to simply be bigger. However,
running out and eating a lot of fast food is not recommended. While you will
acquire more mass, it will be in the form of fat and not muscle. Muscle is
preferable to fat for two major reasons: first, muscle is much more dense
compared to fat, and therefore the practitioner will gain more mass by
acquiring more muscle. Second, fat does not contract; it is sessile, while
muscle contracts, thus creating movement.
Different ways a karate practitioner can maximize mass.
While gaining mass is a good thing, there is a trade-off in that the more mass
one has, the harder it is to move the body quickly in a particular direction. This
could be thought of as the time it takes a motorcycle to get up to speed
compared to a train. The more massive train requires a large engine and a
relatively long time to get its mass moving. This concept is called inertia.
Thus, it is important for practitioners to make sure the amount of mass they
build is proportional to their body frame. Moreover, regular explosive
training, as well as regular stretching, as discussed above, is important.
Therefore, simply building more mass is good but limited. It is better to
concentrate on how to use the mass that one has more efficiently.
Move the Body Center toward the Target
As we discussed above, the body center is vital to all karate movement. In
particular, the movement of the body center is critical to the development of
our mass component. The body center, as a general rule, should always be in
motion, and preferably accelerating, directly toward the target as the striking
limb comes into contact with the target. This allows one’s total body weight to
be delivered to the target.
Students are often told that the hand and foot must move at the same time.
People misinterpret this to mean that when stepping, the front foot needs to
place as the hand finishes its rotation. I disagree with this interpretation
because when the front foot places, the hips stop moving toward the target.
This then removes the body weight and only allows the weight of the arm to be
delivered to the target. An analogy could be driving a train, then stopping the
train and throwing a stone that hits the target. Effectively, all of the momentum
created by moving the body center toward the target is lost. My personal
feeling is that the concept of hand and foot timing, especially when driving
forward in oi zuki, refers not to the front leg, but rather to the straightening of
the rear leg, which is in turn timed with the connection of the body (see below)
and the limb hitting the target. Therefore, timing is critical.
One other important point is that the body center should never move away
from the target, unless absorbing a technique when blocking. When throwing a
jab, or kizami zuki, for example, practitioners often lean forward with their
shoulders. This has the effect of moving the body center backward and in the
direction opposite that of the punch. This causes a dramatic decrease in the
potential mass that can be delivered to the target. Moreover, when techniques
are delivered from a static position such as kiba dachi, it is important that the
body center move toward the target within the limits of the construction of the
stance. A perfect example is in the opening sequence of the kata Tekki shodan
in Shotokan. The hips are turned as far as possible to the right following an
elbow strike. The next sequence of movements—the preparatory position for
the gedan barai (lower block) and the kagi zuki (hook punch)—need to have
hip rotation toward the target in a piecemeal fashion as far as the constraints of
the stance allows, not letting the knees buckle and thus losing the integrity of
the stance. The hips often incorrectly move counter to the hook punch. The
target is to the left, say, but the hips are moving in the opposite direction. One
final example is the dynamic movement of any of the blocks that cross the body
and involve a reverse hip rotation motion, such as gedan barai (lower block).
If this technique is used to stop an opponent rather than deflect, then the hips
need to be driven forward into the technique. This is discussed in more depth
in chapter 16.
Alignment (Mechanics of Stance and Posture)
The next key element of mass is to create the most stable structure possible at
the moment of impact. Many of the stances and postures developed in karate
are designed to do just that. They provide a stable connection to the floor, good
posture, and intra-abdominal pressure. The arms are well seated in the
shoulder joint, and the technique is able to provide correct bracing for the
impact the technique delivers.
In order to have good alignment, it is important to understand several things
about the body. The first is that straight lines are good. Straight arms and legs
form a straight line from the radius and ulna in the forearm to the humerus in
the upper arm as well as the tibia and fibula in the shin to the femur in the
upper leg. This means that no energy will dissipate through the elbow or knee.
Straight also means not locked. If the limb is locked, then it will actually bend
slightly backward at the elbow or knee, and again energy will get dissipated at
the joint. In some ways this can be thought of as a stick holding up a leaning
brick wall. If the stick is bent or bowed, it has a high probability of breaking,
while a straight stick will be able to brace the wall much better. The second
thing to understand is that right angles can be good. The right angle presents the
strongest position for the biceps to keep the arm bent due to utilizing the
maximum number of filaments interacting in the muscle. Therefore, if the
technique requires a bend in the elbow, then a ninety-degree angle is best. The
third point is to seat the ball joint of the femur or humerus into the hip or
shoulder, respectively. This allows a solid connection to the trunk via the
gluteus maximus and latissimus dorsi. By this setting of the hip and shoulder,
the trunk can be connected using intra-abdominal pressure. This connection
will be discussed in the next section.
Correct alignment of the body in the final positions of two karate techniques. Left: zenkutsu dachi, oi zuki
(lunge punch in front stance); right: kokutsu dachi, shuto uke (knife-hand block in back stance).
Another important point about alignment is to make sure that the stance is
braced correctly against the direction of force. While the body center moves
toward the target, it is important to be able to brace against the target on
impact. Newtonian physics says that when force is applied against a stationary
object, the stationary object will push back with a force exactly equal to the
force applied to it. The stances arestructured in such a way as to provide the
strongest bracing possible. Therefore, the stance must provide the correct
posture and alignment. In addition, it is important that the karateka understand
where the stance provides bracing. For example, zenkutsu dachi, or forward
stance, provides bracing front to back and partial bracing side to side but is
weak on a thirty-degree angle. Likewise, kiba dachi, or horse-riding stance, is
strong side to side but weak front to back.
Connection of Upper and Lower Body
One of the key components of generating mass is to connect the striking limb to
the driving leg. This is done through connecting the upper and lower body. In
short, the connection is achieved through the correct application of intra-
abdominal pressure (IAP), which allows the abdominal cavity to create a solid
mass, a bridge between the upper and lower body. Provided the femur and
humerus are seated correctly into the hip and shoulder as described above,
there will be correct transmission of force from the floor to the striking limb.
This concept is discussed in much more detail in chapter 14.
Coordination and Timing (Internal vs. External
Timing/Breath)
One of the most important aspects of linking mass and speed is correct timing.
This is achieved primarily through breath and effectively radiates from the
center of the body. It is important to make initial contact with the target when
the limb and body center are at maximum velocity and then lock the limbs
down to create mass (see next section). Therefore, to hit something effectively,
at the point of contact when the limb is at maximum velocity, the foot and
driving leg must straighten and connect to the hip. The attacking limb must lock
and seat into the shoulder. For example, if it is a punching arm, the wrist must
rotate and the arm must connect into the shoulder joint. If it is a block, the
elbow must connect to the hip. The coordination of the rotation of the wrist, the
drive of the legs, and the correct application of IAP (see above and chapter 14)
can be controlled from the center through breath. This coordination concept is
discussed in more detail in chapters 17 and 18.
Other Elements
The way one impacts a target is also important in terms of the biomechanics of
the impact time and the way the attack hits the target. Impacting a target is dealt
with in chapter 18; however, there are two related concepts we need to
examine here. The first is how long the fist is in contact with the target, and the
second is the angle that can be used to maximize impact (8).
Impact Time
The amount of time that the striking limb remains in contact with the target
depends on two major things. The first is the hardness of the weapon. The
other is the hardness or softness of the target.
In most cases, the striking weapon should be made as hard or as heavy as
possible when it strikes the target. This can be generally achieved by tightening
the weapon at the point of impact. The classic example is tightening the fist as
it comes into contact with the target. For most other weapons, we discussed
how to tighten them for the point of impact in chapter 3. It is important,
however, not to tighten the weapon too soon, as this will cause unnecessary
innervation of the antagonistic muscles and will decelerate the limb. The
weapon should be held in the correct shape throughout the path of movement,
taking care not to loosen the hand so much that the fingers come completely
loose. The weapon should tighten as it makes contact with the target an instant
before the wrist rotates.
Graph showing the effect of impact force and distance or time when hitting a soft surface (dark line) vs. a
hard surface (light line). Notice that the impact force is maximized when hitting a hard surface such as the
face. The impact is less, but more sustained with the punch to a soft surface. This is the direct result of a
phenomenon called impulse. (Adapted from Harrop, 2011.)
The target also plays an important role, especially in terms of how the
karateka hits the target. In general, we are often advised to use a hard weapon
to strike a soft target, and vice versa. This is popularized in many self-defense
classes to prevent damage to the weapon. However, with correct conditioning,
any weapon can be used to hit any target; the key is how long the weapon
remains in contact with the striking surface. In karate there are three major
ways to hit a surface: keage (snap), kekomi (thrust), and ate (smash). The
dynamics of these are covered in depth in chapter 18. However, how they hit
depends partly on how long the striking object remains in contact with the
target. In general, impact force can be maximized on a hard surface, such as the
face, compared to a soft target, such as the stomach. The blow tends to be more
devastating to the target the shorter time it is in contact with the target. This
concept is called impulse. Therefore, when a punch is delivered to a hard
surface like the face, the attacking limb does not need to penetrate far into the
target to deliver force. This, in turn, decreases the amount of time the attacking
limb is in contact with the target. The opposite is true for a soft target like the
stomach. The limb will hit and have to penetrate farther into the target,
decelerating as it penetrates and increasing the time it is in contact with the
target. This lessens the amount of impact force delivered to the target.
What Angle Do I Use?
Another important consideration is the angle at which two objects collide and
how it pertains to the maximum amount of force that can be applied to an
object. Generally, to hit a target with the maximum amount of force, the two
surfaces need to collide at a ninety-degree angle to one another. Any angle that
deviates from ninety degrees will result in less force being applied to the
target. This concept is seen consistently in karate, where we have techniques
designed to hit targets perpendicularly to their impact surface. For example,
choku zuki, or straight punch, is designed to hit a surface parallel to the front of
the body, while mawashi zuki, or roundhouse punch, is designed to hit a target
at an angle, such as either side of the chin. The hook punch, kagi zuki, is
designed to hit a surface at a right angle to the front of the body such as the side
of head.
This same concept can be used for blocks where the practitioner will want
to impact the target at an angle so that the impact is lessened on the forearm.
The forearm is relatively small compared to the leg. Therefore, it is in the
interest of the defender to ensure that a block happens at an angle other than
ninety degrees to minimize the force transferred to the blocking limb.
Notes
  1. N. Hamilton, W. Weimar, and K. Luttgens, Kinesiology: Scientific Basis of Human Motion, 12th ed.
(New York: McGraw-Hill, 2011).
  2. H. Cook, Shotokan Karate: A Precise History (England, 2001).
  3. M. Nakayama, Dynamic Karate: Instruction by the Master (Tokyo: Kodansha International, 1966),
308.
  4. D. L. Bartelink, “The Role of Abdominal Pressure in Relieving the Pressure on the Lumbar
Intervertebral Discs,” J Bone Joint Surg 39-B (1957): 718–725.
  5. E. N. Marieb and K. Hoehn, Human Anatomy and Physiology, 9th ed. (New York: Pearson, 2012).
  6. S. H. Kim, Ultimate Flexibility: A Complete Guide to Stretching for Martial Arts (Wethersfield,
CT: Tuttle Press, 2004).
  7. L. Chou and N. Link, The Martial Artist’s Book of Yoga: Improve Flexibility, Balance and
Strength for Higher Kicks, Faster Strikes, Smoother Throws, Safer Falls, and Stronger Stances
(Berkeley, CA: Ulysses Press, 2005).
  8. E. Schmeisser, Advanced Karate-Do (St. Louis: Focus Publications, 1994).
 
PART III
Internal Movement of Karate
CHAPTER 14
If I Jiggle My Hips, Do I Hit
Someone Harder? Hip Vibration
Body vibration seems to be one of the most misunderstood concepts in karate-
do. To some, it is a mystical way of generating energy from literally wiggling
the hips; however, when rightly understood,it can become an important way to
generate power. In my mind, hip vibration can be used for two purposes: First,
it can connect the arms to the legs using a biological phenomenon called intra-
abdominal pressure that will provide the mass component to any karate
movement. This concept is often referred to in karate as kime. Second, used by
itself, hip vibration allows the karateka to generate power without a lot of
external movement.
An understanding of hip vibration can be gained through the study of the
kata Tekki shodan in Shotokan or Po Eun in taekwondo. Though the kata has
very little translational or rotational movement, the practitioner must generate
power while keeping the integrity of the stance kiba dachi. Once the concept is
understood, it can be applied to virtually every technique in karate.
So What Is Hip Vibration in Terms of Body Connection?
As we have already discussed, in order to hit something hard, the karateka
needs to reckon with the seemingly paradoxical F = ma formula. This formula
states that the force that can be generated is a product of mass multiplied by
acceleration. A similar paradox is involved in generating momentum as well (p
= mv), where momentum is a product of mass multiplied by velocity. This
paradox arises because in order to generate momentum or force, the
practitioner needs to generate the maximum possible velocity or acceleration.
This can only be done by relaxing the muscles and throwing the technique as
fast as possible. The trade-off with this is that if the technique hits while all
muscles are relaxed, they forgo the mass part of the equation, meaning that the
impact will be weak since there will be no body weight behind the technique,
just the weight of the attacking limb. Therefore, there needs to be a way to
couple both speed and full body mass at one instant.
With this concept in mind, it is also important to develop a connection
between the legs—connected, of course, to the floor—and the upper body.
Again, if there is no connection between the two extremities, the practitioner
will forgo the mass part of the aforementioned equations, and the potential
momentum or force generated will diminish as a result.
Hip vibration is linked to both of these problems in a major way. Hip
vibration comes about through a phenomenon called intra-abdominal pressure
(IAP) (1–3).6 Simply put, IAP is the flexion of the abdominal wall and the
rectal muscles (in, not out), at the same time contracting the diaphragm
downward to push the organs in the abdomen into the muscle walls to create a
solid block.
A useful analogy is a water balloon in a wire mesh bag. The bag is flexible
and can bend and twist. However, if you apply pressure to the ends of the
balloon (pushing the ends toward the center), the balloon will squeeze against
the sides of the mesh bag and create a solid mass. In the body, a similar action
connects the arms and legs.
The analogy of intra-abdominal pressure using a water balloon in a wire mesh bag as the viscera in the
abdominal cavity.
Having the ability to form a solid mass between the legs and arms allows a
direct coupling of upper and lower components of the body for an instant,
creating the mass component of our force and momentum equations. Therefore,
this concept should be tied to all karate translational and rotational hip
movements. We will not be dealing with the coordination of these movements
here, as they are the subject of chapter 17.
Can Hip Vibration by Itself Generate Power?
The short answer to this question is, sort of. It is fair to say that every karateka
has gone through trainings where everybody stands in natural stance, or heiko
dachi, and straight punches (choku zuki) to the count of the instructor. This drill
is to develop understanding of hip vibration from a prone foot position. If you
watch a class do this, you will see many variations of hip vibration, from no
hip movement at all to wobbling from side to side.
A top-down view of hip vibration. Bottom: the individual is standing square. Middle: the practitioner
executes a punch with his right hand; the right hip drives forward accordingly, approximately one to two
inches (to the black horizontal line). Top: upon the punch contacting the target, the wrist rotates. At the
same time, the left leg drives off the floor and the torso compresses using IAP. This has the effect of
instantaneously rotating the left hip so it is in line with the right (similar to slamming a door), and
connecting the punch to the floor through the now-solid torso. Immediately, this position is relaxed and the
body moves naturally back to the original position.
Remember that in order to hit with power there needs to be some movement
of the body center toward the target, even when the feet are prone. This
principle must be observed, although, unfortunately, it is often not taught.
Vibration, when it is isolated, is often taught as a short hip movement from side
to side, rotating around a central axis. However, I disagree with this way of
teaching the movement since students often fail to understand when it is
explained this way and end up wobbling their hips because they do not
understand the concept of intra-abdominal pressure and the connection it
brings.
In my view, vibration is a product of the initiation of the movement through
a drive from the attacking limb side, slightly causing the hip to rotate forward
(middle figure). The abdomen compresses through IAP, while simultaneously
the opposite driving leg pushes the opposite hip to be in line with the attacking
limb hip (top figure). This couples a small one- to two-inch forward movement
of the body center to IAP. Therefore, it is the quick application of relaxed hip
movement, translating the body center slightly forward and coupled with IAP,
that generates the vibrational movement of the hip, and not a conscious
flopping movement of the hip.
As an example, if a practitioner is working on straight punch (choku zuki)
from natural stance (heiko dachi), the vibrational movement is generated as
follows: The practitioner initiates the movement with all muscles in the
abdomen, shoulders, and arms relaxed. The hip on the same side as the
punching hand is driven forward as far as the practitioner’s hip flexibility
allows while maintaining heiko dachi (normally just one to two inches). As the
punch extends, the retracting hand comes back and the body is maintained in a
relaxed state. At the point of contact, two things happen simultaneously: (1)
The buttock on the same side as the retracting hand flexes, creating drive from
the floor (shime) and driving the opposite hip forward slightly toward the
target; and (2) the practitioner contracts his or her abdominals, squeezes the
butt (from 1), and contracts the abdomen to create IAP, connecting the arms to
the base. This has the effect of squaring the body to the front, except that the
body center has translated a few inches forward from the original position and
connects the feet to the punching hand, so that there is correct body alignment
for the technique. Taking the example of our water-filled balloon in a mesh
bag, if you twist it and then compress it quickly, it will untwist rapidly into its
original orientation. Once the punch is completed, the abdomen relaxes and the
body center resets to its initial position a few inches back.
A front view of hip vibration. Left: starting position of the technique (analogous to the bottom figure in the
previous illustration). Middle: initiation of a right choku zuki. Note that the right hip also drives forward
with the punch (analogous to the middle figure in the previous illustration). Right: finish of the technique,
where the left hip has driven forward as the body connects using IAP (analogous to the top figure in the
previous illustration).
In the first few movements of Tekki shodan, this concept is especially
important. At no time should the body center be moving away from the target
you are striking. Especially with respect to the hook punch,or kagi zuki, it is
not uncommon to see the hips moving in the opposite direction, and thus the
body center away from the target. As you move from the preparatory (cup-and-
saucer)7 position to the gedan barai to the kagi zuki, the hips should continue to
rotate toward the target, and thus the body center moves in kind.
This concept can therefore be extrapolated and coupled into virtually every
karate technique and every form of power generation, including translation,
elevation, and both direct and reverse rotation (see next chapters). In addition,
IAP plays a central part in kime, and also in the coordination of body
movement.
Traditionally, there have been three major terms used to identify the means
by which the body is able to generate power in karate. They are: body shifting,
body rotation, and body vibration. The question may then be asked whether
body vibration is the best term to describe the third means. Body vibration, as
we have defined it here, is actually a combination of power generation though
intra-abdominal pressure (IAP) and a small hip rotation, the major factor being
the IAP.
Accordingly, one must question whether body vibration, as a term denoting
a method of creating power, is useful. Based on our explanation above, the
answer is simply no. Since what we term body vibration is nothing more than
an extension of IAP (a tensing of the core muscles), I would prefer to use the
term core compression, which indicates the role of IAP in the generation of
power in karate movement.
Notes
  1. P. R. Davis and J. D. G. Troup, “Pressures in the Trunk Cavities when Pulling, Pushing, and Lifting,”
Ergonomics 7 (1964): 465–474.
  2. D. L. Bartelink, “The Role of Abdominal Pressure in Relieving the Pressure on the Lumbar
Intervertebral Discs,” J Bone Joint Surg 39-B (1957): 718–725.
  3. C. M. Norris, “Abdominal Muscle Training in Sport,” Br J Sp Med 27 (1993): 19–27.
CHAPTER 15
Hit Them Like a Steam Train:
Using Body Shifting to Generate
Translational Power
Body shifting is a way to generate power from the body center by shifting the
hips in a linear way. This can be in a vector either parallel to the floor, which
is called translation, or perpendicular to the floor, which is known as
elevation. In physics, body shifting can be described by the formula for
momentum: p = mv, where p = momentum (measured in kg m/s), m = mass, and
v = velocity. This says essentially that the faster you move a big object along a
vector, the more momentum you will create. In particular, this type of
movement can take the form of oi ashi (stepping) or yori ashi (shifting). In
order to achieve any form of translational movement, you need to purposely
unbalance yourself in the direction you want to travel. If you are in a perfectly
balanced position, you are not moving. Therefore, by “organized falling,” you
can move forward.
The use of the drop in elevation to create power. In this case, the first movement of the kata Bassai Dai.
Generally, for translation, the muscle propelling the limbs along that linear
vector produces speed. In elevation, by contrast, especially when dropping the
body center from a higher to a lower position, speed can also be produced by
gravity. In addition, sometimes the practitioner can generate power by using
elevation and translation simultaneously. Examples are fairly numerous in the
kata, but the first movement in Bassai Dai (moving from attention, or heisoku
dachi, to crossing stance, or kosa dachi), which requires both a step and a
drop, is especially typical. Therefore, as with all hip power generation, more
than one type is often applied simultaneously.
Types of Translation and Elevation
There are several major types of translational and elevational movement.
Especially prevalent movements are stepping, shifting, and jumping. Note that
all of these, while having clear translational movement, can also incorporate
elevational movement in both the upward and downward directions as well.
Stepping
A sequence showing the progression of motion through oi zuki, or lunge punch, as it primarily uses body
shifting to generate power. Note the elements of core compression (hip vibration) throughout the motion of
this technique (analogous to what is described in chapter 14).
Oi ashi, or stepping, refers to moving one foot to another position to move the
body center in a particular direction. It can be in any direction as long as the
front foot and rear foot are switched with each iteration. Examples of this
include oi zuki, or stepping punch, where the practitioner drives off the front
leg to push the rear leg through to the front, thus driving the hips forward. In the
illustration below, the practitioner is stepping forward from left zenkutsu dachi
to right zenkutsu dachi while punching with the right hand. It is important to
note that, as with all translational motion elements of rotation, elevation and
vibration may be incorporated.
Dynamics of Oi Ashi
Stepping can vary dynamically depending on the tension of the initial stance
(see chapter 5 for an explanation of stance tension). If the practitioner is
moving from one outside-tension stance to another outside-tension stance (e.g.,
zenkutsu/kiba/kokutsu dachi to zenkutsu/kiba/kokutsu dachi), the overall feeling
is to switch the tension from an outside-push feeling to a compression or
squeeze from the adductors to compress the legs together using the hips as a
fulcrum. This flows naturally to an expansion out to the final position where
the feet grab the floor due to the outside tension. If the practitioner is stepping
forward from one inside-tension stance to another inside-tension stance (e.g.,
Sanchin/Hangetsu dachi to Sanchin/Hangetsu dachi), the tension to create the
initial compression is already there, so the relevant leg is simply released. The
stance compresses and the legs come together using the hips as a fulcrum. Once
the legs flow past each other, the stance starts to expand, and this time when the
traveling foot makes contact with the floor, the feet grab the floor by applying
outside tension as they move into the final position of the stance.
This feeling of contraction and expansion is important for the overall
dynamic feeling of the movement, but the driving leg determines the
directionality. Using a simple case of zenkutsu dachi to zenkutsu dachi, the step
forward is initiated by the “hips” rotating slightly so that the rear-leg hip
moves forward. Note that actually the legs and feet initiate all external
movement by pushing off the ground. But it is easier to coordinate if the
movement is thought of only in terms of the hip. This movement of the hip
causes three things to happen simultaneously: (1) the feeling of outward tension
is switched to inward tension in both feet; (2) the rear leg’s heel lifts off the
floor, initiating a push in the rear calf muscle; and (3) the front anchoring leg
starts to pull the individual forward. This then initiates the adductors to
squeeze the legs together, while the front leg pulls the body on top of it and the
rear leg squeezes to the center as fast as possible. Next, as the legs pass each
other and the front leg (now rear) starts to straighten and drive the body center
forward more quickly, the rear leg (now front) simply swings forward to add
momentum to the movement. Once at the right distance to hit the target, the new
rear leg straightens, and simultaneously the abdominal region contacts through
intra-abdominal pressure (see chapter 14). This snaps the hips to the correct
half-face (hanmi) or full-face (shomen) position, connecting the hand technique
to the driving leg and the floor. As long as this connection is achieved, it is
relatively unimportant when the new front leg connects to the floor. Ideally, this
should be at either the same time or a split second after the rear leg and
abdominal region connect. This feeling of outward expansion is continued
through the feet as they grab the floor. It is important to note here that while
there is an outsidetension in the feet with respect to the floor, the hips should
remain supple and flexible after the initial connection.
A sequence showing individual movement associated with oi ashi, or stepping techniques.
This same feeling arises when stepping backward. This time the movement
is initiated by contracting the hip in the same way as above, with the rear-leg
hip pushed slightly forward. The rear leg is anchored and pulls through the
heel of the rear foot, squeezing the legs together. Squeezing through the
adductors drags up the front leg. Note that the quadriceps is not the focus of
movement here, as it will tend to lift the hip upward as the movement takes
place. As the front leg swings backward and passes the opposite leg, the
buttocks must contract quickly to swing the leg to increase momentum.
Meanwhile, the opposite leg becomes the driving leg, pushing the body center
backward. Connection of the abdominals is based on when the rear leg
connects to the floor.
No matter the stances or the direction of the step, it is important that the
driving leg have the feeling of being well connected to the floor and driving
upward. This means that the practitioner must have the feeling of keeping the
heel of the driving leg attached to the floor. This can be difficult depending on
ankle flexibility. The feeling of an upward connection from the floor to the hip
is called “shime” and is characterized by the sense that the femur is driving
upward and into the buttocks.
Shifting either the front leg or the rear leg toward the center of the body on
the initiation of a step in zenkutsu dachi (double stepping) can be a problem, as
it is both inefficient in generating power and alerts the opponent to the attack
due the double movement of the leg. In moving forward, the cause is normally
incorrect placement of the front leg in the initial stance. It is vital that the front
knee be bent over the front toe; this way, the body center is already over (or
close to being over, depending on femur length) the front foot. This allows the
front leg to be in the correct position to begin the drive at the beginning of the
movement. As for rear-leg double stepping when moving backward, it is
important to think of a contraction movement such as a squeeze of the
adductors. The pull backward feels like it comes from the heel.
Shifting
Shifting can be defined as both feet moving in such a way as to shift the body
center, only the feet do not change place—the front foot remains the front foot.
In addition, in the final position, the feet normally resume their natural-stance
position and thus are not wider or narrower than in their initial position.
Shifting can take several major forms: yori ashi (sliding), okuri ashi (front foot
expanding away from the rear, the rear foot then contracting), and sugi ashi
(rear foot stepping up toward the front foot, then the front foot moving
forward). These techniques can be performed with elevation, rotation, or
vibration as required by a given technique and in a variety of directions or
angles.
An additional type of body shifting includes the shifting the body center can
undergo when transitioning from one stance to another. For example, by
switching from back stance, or kokutsu dachi, to forward stance, or zenkutsu
dachi, the body center moves forward as the weight distribution changes from
70/30 (back to front leg, respectively) to 40/60 (back to front leg,
respectively).
Dynamics of Yori Ashi
All of the different kinds of shifting are based on exploiting the outward
tension of a stance and our natural reflex to catch ourselves when falling.
There are several kinds of yori ashi (sliding techniques). One is okuri ashi,
or front foot expanding away from the rear, and rear foot then contracting.
Another is sugi ashi, or rear foot stepping up toward the front foot, with the
front foot then expanding. These two shifts can be applied to move the body in
the front (mae), rear (ushero), or sideways (yoko) directions. For okuri ashi
applied in the frontward direction, the initial stance is in outward tension.
Next, the leg closest to the direction of movement is lifted and, because of the
outward tension of the stance, the leg still connected to the floor pushes the
body in the direction of the lifted leg. The lifted leg then drops and connects to
the floor, and the rear or pushing leg slides to the length of the initial stance. As
both feet connect, outward tension is then applied, allowing the feet to “grab”
the floor. Note that this is not a physical push off of the grounded leg, but rather
a natural extension of the tension that is already present in the stance. If it does
become a push off of the rear leg, the hips will lift during the movement rather
than moving parallel to the floor.
In sugi ashi, the rear leg first steps toward the front and acts to drive the
front leg outward. This allows a coiling of the rear leg, letting it drive more
into the shift, compared to yori or okuri ashi.
Jumping
In tobi, or jumping techniques, both feet leave the ground. These techniques can
be very powerful because the full body weight, assisted by gravity, is driving
toward the opponent. However, they can be difficult to execute since they are
very hard to control, as there is no contact with the ground during flight.
Conclusion
The forces of physics govern all of these translational motions. The formula for
momentum is especially important to consider here: p = mv. This indicates that
in order to create the greatest possible momentum in the technique, the
practitioner must create as much velocity as possible, in addition to mass. The
easiest way to create velocity is to understand the timing of each point of the
step, and know where and when to relax and tense each muscle. Provided this
is worked on, there will be no excess tension in the movement, and every
muscle contraction will help to move the practitioner to where he or she needs
to be and not fight against the movement.
References
Nakayama, M. Dynamic Karate: Instruction by the Master Tokyo: Kodansha International, 1966.
Okazaki, T., and M. V. Stricevic. The Textbook of Modern Karate. New York: Kodansha International,
1984.
Schmeisser, E. Advanced Karate-Do. St. Louis: Focus Publications, 1994.
CHAPTER 16
Rockin’ and Rollin’: Rotation of the
Body to Create Power, Coordination
of Movement, and Superior Body
Position
Body rotation is an important concept in karate. It means using a rotational
movement to create power in a technique. This chapter will describe body
rotation in terms of three aspects: (1) joint rotation and creating focus, (2) hip
rotation, and (3) body rotation about different axes.
While the kinesiology of rotation will be brought up in other chapters, it is
important to remind the reader that angular momentum can be described by the
following formula: L = Iω, where L = angular momentum, I = the moment of
inertia (the moment of inertia is resistance to changes in angular velocity,
which is directly proportional to mass; for example, it is easier to spin an
empty bucket than a full bucket due to the difference in mass), and ω = the
angular velocity, which is a product of distance over time. In addition, it can
be further defined as L = r × mv, where r = radius of the moment arm, m =
mass, and v = velocity. This second formula allows for the conservation of
angular momentum. Figure skaters provide a useful analogy here: with their
arms out they spin slower, but as they draw their arms in, decreasing their
radius, they will start to spin faster. By taking advantage of these physics
principles, it is possible to generate vast amounts of force using rotation.
Joint Rotation in Terms of Creating Focus
One important concept, especially with respect to creating finish, or kime, for
almost every hand technique, is the full and complete rotation of the radius and
ulna of the forearm, and thus the wrist. The wrist can be in one of two
positions: either pronated (if the thumb is sticking out like a hitchhiker, it willpoint toward the body) or supinated (if the thumb is sticking out like a
hitchhiker, it will point away from the body). These fully rotated positions
cause the muscles in the forearm to flex and, with the clench of the fist, will
allow a point of contraction for the entire body.
Pronation or supination of the wrist relative to the body.
This concept is involved in almost all karate hand and arm techniques,
including oi, gyaku and jun zuki (supination to pronation), gedan barai, age and
shuto uke (supination to pronation), and uchi and soto ude uke (pronation to
supination). This fast and complete wrist rotation from pronation to supination,
or supination to pronation, is key to developing fast and relaxed techniques.
The concept is really addressed and concentrated on for the first time in the
Tekki series of kata, although in hindsight, it has been practiced from the start
of training.
Another important point about wrist rotation is its use in blocking
techniques. For example, in the outside cross block, or soto ude uke, it is really
the wrist rotation from pronation to supination that provides the finesse of the
block, and much of the body movement is involved in getting the arm and body
to a reinforced position to be able to make the block. So while the hips rotate
to get the body into a half-face hip, or hanmi position, this moves the elbow to
the correct one-fist-width distance from the hip. In this dynamic movement, the
wrist should still be fully pronated, and the palm side of the wrist will come
into contact with the attacking limb. At this point of contact, the body connects
and the wrist is quickly rotated to the fully supinated position, effectively
changing the contact surface from the “wide, flat” part of the wrist to the
“skinny” part of the wrist, shifting the attacking limb. Since this rotation has a
very small radius, it is very powerful thanks to the conservation of angular
momentum.
Hip Rotation for Generating Power in Techniques
Hip rotation comes about through the half (hanmi) and full (shomen) hip
positions. These positions represent the maximum movement allowed by the
flexibility of the ball-and-socket joints of the hip and femur. A common
misconception is that the hips drive the rotation. Remember that the hip itself
has no muscles, so the legs drive the hips, which allows for this motion. As we
noted earlier, the movement could be compared to putting two toothpicks into a
potato (similar to the femurs, or thigh bones of the legs). If the ends of the
toothpicks are manipulated so that one is forward and one is back, the potato
will take a hanmi position. If now you push on the rear toothpick, the potato
will rotate to the shomen position. Notice that it is not the potato doing the
movement but you pushing the toothpicks into position. This is exactly
analogous to your legs pushing the hips from the floor into position.
Hip rotation explained as an expansion/contraction of the hips, using the driving leg (shime) to forcibly and
quickly rotate the hip forward, similar to closing a door.
Another important point is that rotation is often thought of as an actual
rotation or swinging motion of the hips. While this is technically correct, it is
more accurate to think of rotation in terms of expansion and contraction. That
is, to get to hanmi, think of the full expansion, push out on the outside edges of
the feet, and this will automatically rotate the hips to hanmi. When you go to
shomen, think contraction and change the direction of the foot push to out from
the toes of the front foot and straight back through the heel of the rear foot. This
will contract the hips to shomen automatically. By thinking of the hip rotation
as an expansion/contraction rather than a full rotation, the muscles employed
change from primarily glutes, quadriceps, and hip flexors to adductors and
inductors, which are very fast twitch. (Think of how quickly someone can
close their legs when a kick is coming toward their groin.) Similar principles
govern all stances and reverse half-face hip, or gyaku hanmi positions, but will
not be discussed here.
Direct hip rotation using soto ude uke as an example. Note that the elbow moves in the same direction
relative to the hip.
Reverse hip rotation using gedan barai as an example. Note that the elbow moves in the opposite direction
relative to the hip.
While the rotation of the hip uses the same mechanics, two rotations can
technically be defined relative to the attacking/defending limb movement.
These can be termed direct rotation and reverse rotation. Direct rotation is
when the moving limb is moving in the same direction as the hip. Examples of
this include basic soto ude uke, age uke, and kizami zuki. Reverse rotation is
when the moving limb is moving in the opposite direction to the hips.
Examples include gedan barai, uchi uke, and shuto uke. It is important to point
out that this principle and these examples are not mutually exclusive. For
example, the last four movements of Heian shodan, the four knife-hand blocks,
or shuto uke, involve both direct and reverse rotation. In the first and third
blocks (executed from the turns), the rotation of the body mirrors the rotation of
the hips, and in classic reverse rotation, the second and forth blocks are simply
steps forward. This shows that hip rotation is versatile. It is important to pay
attention to what makes the body feel strongest for a given technique in its final
position.
Body Rotation in Terms of Axis and Gaining Better Body
Position
The final concept covered here is full body rotation in terms of where the axis
of rotation is placed. Due to the conservation of angular momentum, it is
paramount that nothing should increase the radius of rotation. This means that
throughout the rotation the body must remain upright and be moved from the
center. If the body bends, the radius will be increased, thus increasing angular
momentum. This will make the body much harder to control during the rotation.
The key point here is that one has to be to be aware of the axis of rotation. A
common misconception about hip rotation is that there is a single axis of
rotation through the backbone. But the axis of rotation can move. For example,
when performing reverse punch (gyaku zuki) from a half-face, or hanmi
position, the axis should in fact be along the front hip, resulting in a hip action
akin to slamming a door. Therefore, as long as the spine remains perpendicular
to the floor, the axis can move laterally through the body, depending on need
and the drive of the body center.
This axis may be shifted through the body with a clear understanding of the
relationship between the rotation, the shift in body center, and the desired
outcome of the technique. In the gyaku zuki example above, the rotation of the
hip must be in line with the desired outcome. If the rotation occurs through the
back hip, the body center will be pulled away from the direction of the
technique, thus decreasing the impact to the target. If it is done through the
center of the body, rotating using the spine as the central axis, then the body
center will not move forward, and there will only be a medium amount of
energy delivered to the target since the body mass will not be employed in the
technique. However, if the front hip is used as the rotational axis, then the body
center will shift in the direction of the target, thus increasing the mass by
coupling rotational force with the linear force that can be delivered to the
target. While the latter option is superior, it is constrained by the practitioner’s
flexibility through the back or driving leg. The leg must be able to continue to
push off the ground for the duration of the technique and not disconnect from
the floor.
This concept of shifting through differential points of the hip—the front,
rear, or center of the hip—is technique-specific. The desired outcome of the
technique is paramount and should guide where the rotation initiates. For
example, in blocking techniquessuch as soto ude uke, or outside cross block
(soto ude uke), from a static position, the outcome of the block can vary
dramatically in a dynamic situation. If the rotation happens through the front of
the hip, this can have the effect of jamming or driving back the opponent due to
the body center moving in, analogous to the collision of two pool balls. If the
spine is used as the axis, then the opponent can be deflected at a ninety-degree
angle. If the rear hip is used as the rotational axis, then the opponent can be
absorbed and pulled off balance in the direction of his attack, as if he were
pulled off balance by overstepping.
A lunge punch, or oi zuki, is successfully defended by rotating the body and striking with yoko empi uchi.
One of the more extreme examples of changing the rotational axis in karate
can be applied to blocking in jiyu kumite, or free sparring. In basic
applications, the block is performed by rotating the hips to the hanmi position,
with the axis of rotation being the center of the spine. I argue that in situations
where the distance between two opponents is not fixed but rather dynamic
“floating maai”—where the distance between the two opponents is not fixed—
the axis of rotation becomes the lead hand; specifically, the rotating wrist
becomes the axis of rotation, and the body moves into position around it.
Therefore, in dynamic situations, the karateka needs to be aware of three
things: (1) the axis of rotation in respect to their own body, (2) the final
location of the body center relative to the opponent (total body position,
including angle and distance to the opponent), and (3) the timing of the
movement. If all three are taken into account, then it is possible to complete a
powerful, smooth transition from defense to attack.
References
Nakayama, M. Dynamic Karate: Instruction by the Master. Tokyo: Kodansha International, 1966.
Okazaki, T., and M. V. Stricevic. The Textbook of Modern Karate. New York: Kodansha International,
1984.
CHAPTER 17
Breathing: The Key to Coordination
Body expansion and contraction is vital for the coordination of movement in
karate. Goran Glucina, seventh dan SKIF, commented that “karate is the most
natural thing for your body; it as simple as breathing.” This comment is
extremely insightful. Body expansion and contraction refers to the movement
from one position to another with good timing. The timing is controlled through
breath. In this chapter, we will break down some of the components of
breathing, body connection, and expansion and contraction. Initially, we will
discuss relaxation and the contraction and expansion of movement, then we
will move to the concept of timing. From there we will talk about the ways in
which timing can be controlled through breath. Finally, we will see how good
control of expansion and contraction of movements as controlled by breath
connects to concepts such as kiai and kime.
Stepping forward from the expanded zenkutsu gedan barai (forward stance lower sweep) with the left leg
forward, to the expanded zenkutsu gedan barai with the right leg forward. The middle figure is the
contracted preparatory position.
Throughout this chapter, we will be using some terms that are important to
put into context here. Expansion refers to having a limb in some fully extended
position, while contraction refers to the initial movement of that limb or body
part, such as the hips, from that position (like letting go of a rubber band).
Body expansion and body contraction refer to the whole-body feel of a
movement. For example, in lower block, or gedan barai, the final position of
the movement is in full-body expansion while the load for the block is in full-
body contraction. But the concept can get a little more complicated. When one
moves from the fully expanded (and body-expanded) movement of gedan barai
(left figure below), the arm movement initially contracts to bring the elbows
together for the preparatory position (middle figure). When in the preparatory
position, the body is contracted, but other muscles in the load position are now
expanded (lengthened) and can be used in our rubber band analogy to initiate
the following technique (right figure). Another term referred to here is tensing.
This is often at the full, final body-expanded or body-contracted positions, but
at more advanced levels can be separated from them. Oftentimes this
contraction is called kime, but as we will see, it encapsulates a much larger
concept and will be discussed separately below.
Relaxation and the Contraction and Expansion of Movement
The flow from one movement to another can be likened to a rubber band. The
flow from one movement to another is from full-body expansion in one
direction to full-body expansion in another direction. A simple example of this
is stepping from gedan barai to gedan barai (see illustration in the last section).
Through the course of the movement, the practitioner steps from a full-body-
expanded position to a body contraction through the center, which stretches
muscles in the opposite direction and then moves to another fully expanded
position. In order to achieve this movement smoothly, karateka can make use of
the elasticity of their tendons. By dynamically stepping into the first gedan
barai at full expansion, the tendons are stretched 15 percent of their length as
the muscle contracts. As they spring back to their normal length, the
practitioner can use that tendon contraction to initiate the next step while
contracting the hips and arms to a fully compressed state and then allowing the
natural tendon contraction to initiate the movement in the opposite direction.
This type of movement is exactly analogous to a counter jump (the little jump
people often use to initiate a large dynamic movement).
A stretched rubber band offers a good analogy. You use the energy gained
from the stretch to initiate the next movement, which again stretches the rubber
band in another direction, which in turn is used to initiate the next stretch, and
so on.
This springy, tensile movement allows both the smooth transition from one
technique to another and the quick timing between movements. For example, if
you execute gedan barai hard and strong in zenkutsu dachi while allowing the
limbs to be at full expansion and then you immediately relax, your body will
move slightly in the direction of the next technique. This allows your hips to
naturally start to rotate your body for the next contraction as it accelerates to
gyaku zuki. In order for this to happen, a few conditions have to be in place.
First, the movement must be relaxed throughout, with tensing only when
required, which, when the distance between the two opponents is not fixed, is
at the ends of the movements, or at the point where contact would be made
with an opponent. Second, the tensing winds the muscles into a full-body
expansion or contraction movement. Third, all of this movement needs to be
timed correctly.
Timing
Timing refers to the general coordination of movements as a single unit. In
karate this is often described as the feet and hands moving together. However,
this can be better defined as the body center and hips moving together with one
or more limbs. Coordinating movement through the body center is vital to
correct body expansion and contraction. If the limbs are moving in an
uncoordinated fashion relative to one another or the body center, the movement
as a whole will be ineffective. To do this, it is important to think through the
body center first and foremost, best described by Steve Ubl (eighth dan,
WTKO) as “put your eyes and look through your center point.”
In a perfect world, the feet, arms, and hips all stop moving at the same time.
This applies not only to the conclusion of the movement, but should be
considered throughout the movement. For example, in stepping forward from
zenkutsu dachi with gedan barai to zenkutsu dachi again with gedan barai, the
entire movement needs the hands, feet, and body center to move in turn, startingfrom the full-body-expanded position, to the full-body-contracted position (the
preparatory position), to the full-body-expanded position, together. In
particular, the full-body contraction (preparatory position) has both arms
wrapped around the front of the neck, and the feet are together and squeezed all
at the same instant before the movement changes to the expansion phase.
A way to remember this is to imagine that the elbow of the rear hand and the
knee of the rear leg are connected by a piece of string. The elbow and knee
move as a single unit throughout the movement. Unfortunately, this type of
coordinated movement is very difficult to put into practice, especially when
coordinating opposite arms and feet. Therefore, breath is often used.
Breath
Breath in karate is inextricably linked to the expansion and contraction of
karate movement, as well as to the coordination of these movements. In
addition, it allows connection and tensing of the muscles in a coordinated
fashion. At a very basic level, inhalation is often used to relax, and is joined
with body contraction. Exhalation, on the other hand, is joined with body
expansion, and is often used to help with the final tensing of muscles and to
engage intra-abdominal pressure (IAP) (see chapter 14).
Contraction of the body center through breath, resulting in IAP.
In the example of stepping forward from zenkutsu dachi with gedan barai to
zenkutsu dachi with gedan barai, the inhalation is timed to the movement from
full-body expansion to full-body contraction (to the preparatory position), then
the exhalation is coordinated with the full-body contraction to the full-body
expansion (preparatory position to execution).
An additional point to make here is that the use of IAP is not necessarily
associated with an outward breath. Recall that IAP is created by contracting
the abdominals and the rectus (inward) and flexing the diaphragm. Remember
also that with an outward breath the diaphragm flexes down and creates
pressure on the viscera. It is also possible to create the same downward
pressure by filling the lungs with air. Therefore, IAP can be achieved on either
inward or outward breaths.
It is also important to note that IAP does not require a full exhalation. In the
example of gedan braai to gyaku zuki, IAP can be employed twice on the same
out-breath. As the block is executed, the breath is exhaled and stopped using
IAP as the technique makes contact with the opponent. The diaphragm is
immediately relaxed, and the exhalation is continued as the punch is executed,
where again IAP is used as the punch makes contact. This principle can be
used to allow for multiple techniques in a single out-breath and can be used to
string techniques together.
Finally, if multiple techniques are used in a single exhalation, one can make
use of the diaphragm and natural expansion and contraction of the chest that
occurs during IAP to extend the breath. As the technique is executed and IAP is
employed, the chest will naturally contract. As the diaphragm is relaxed
immediately after the technique is executed, the chest expands a little, creating
a slight vacuum that allows a small amount of air to enter the lungs before the
exhalation continues. This type of breathing is called pulse breathing, and it
can greatly increase the number of techniques that can be executed on the single
breath.
The above principles can then be extrapolated: while the breath is moving,
the body is in movement, but when the breath stops (allowing for IAP), the
muscles of the limbs need to be contracted, either in full-body expansion or in
full-body contraction (which normally coincides with contact with the
opponent). An important point is that while every technique has some form of
hip movement to add power to the technique, each technique also has a breath
component that coordinates the movement overall. The two are joined together.
Kiai and Kime
The concepts of kiai (visceral shout) and kime (decision or focus) are linked to
these concepts. In addition, the two are linked to one another. The kiai is a
product of the kime, and the kime is aided by the kiai.
Kime is the complete focus of an execution of a technique from beginning to
end, resulting in the perfect finish. It encapsulates not just the end point of the
technique, but the entire path used to execute the technique. It also incorporates
the three major areas of body, mind, and spirit.
In terms of the body, kime is about achieving the correct outward form of
the technique, the correct shape and body alignment. The body should also
have the correct internal form, correct timing, correct application of IAP, and
correct breathing. This body aspect includes the concept of timed body
expansion and body contraction. The mind aspect can be thought of as focusing
both on what is happening externally to the body and on what is happening
internally. The external mental aspect involves control of the mind to place the
attacking limb at the right place at the right time and to calculate how to do it
against a moving target. It is the mechanical ability to focus and coordinate a
limb on a single point in space. Internally, the mind is coordinating everything:
the neuromuscular pathways to move the limbs, the breath, and coordination.
The spirit aspect is about actually wanting to hit the target and having the
emotional focus and will to drive into the target. All of this must be
coordinated in some fashion, and breath plays that role. By coordinating the
breath with the movement, we have a way to move from the body center using
IAP and harmonize our techniques with mind and spirit.
When all of this comes together with breath, a sound is produced: the kiai.
Kiai is of two words: ki meaning energy and ai meaning bringing together.
Therefore, a kiai is the noise produced when you have complete coordination,
both internally and externally, of the body, mind, and spirit, using breath and
body center to focus on a single point in space during the impact of a
technique.
Conclusion
Based on this chapter, it is obvious how important the concepts of expansion
and contraction are in karate, and, more importantly, how they are inextricably
linked to timing, breath, and IAP. Timing, breath, and IAP provide much of the
link between how we need both mass (tensing, or kime) and acceleration
(complete relaxation) coupled together to produce force in techniques. More
importantly, breath can clearly be used as the central controlling factor to
coordinate these factors together in our techniques. Therefore, karate really is
the most natural thing for your body—as simple as breathing.
References
Nakayama, M. Dynamic Karate: Instruction by the Master. Tokyo: Kodansha International, 1966.
Norris, C. M. “Abdominal Muscle Training in Sport,” Br J Sp Med 27 (1993): 19–27.
Okazaki, T., and M. V. Stricevic. The Textbook of Modern Karate. New York: Kodansha International,
1984.
Schmeisser, E. Advanced Karate-Do. St. Louis: Focus Publications, 1994.
CHAPTER 18
How Do I Hit Things and Not Fall
Over? Keage, Kekomi, and Ate
Reaction force is a vital component of karate techniques. This chapter will
discuss the concept in two ways. The first is how reaction force can be used to
hit the target to achieve different results. The second is the internal reaction
force often used to balance or reinforce the body.
How Do I Hit Things?
According to physics, when you push against a wall or hit a target (action
force), the target will push back into you with an equal amount of force until
either the force applied stops or either side gives way. In addition, it can take
time to transfer that action force, and for the object getting force applied to it to
transfer that force back into the force applier (reaction force). In karate, we try
to apply the maximum amount of force to the target as quickly as possible.
However, the way we apply action force and deal with the reaction force can
vary depending on technique. In short, in Shotokan karate we have threemajor
ways we can hit things (note that this does not count deflection, used to block).
They are keage, or snap; kekomi, or thrust; and ate or smash.
Keage
Uraken uchi, or backfist strike, as an example of keage. Note the strong emphasis on the retraction of the
technique.
Keage, or snap, is typified by side snap kick, or yoko geri keage, and backfist
strike, or uraken uchi. In these techniques, the limb penetrates the target,
pushing through the soft tissue layers, then immediately retracts before the
opposing body applies reaction force to the attacking limb. This is achieved
through a snapping motion, where the retraction is the highest priority, similar
to snapping a towel. A common ratio is 30 percent effort driving the technique
outward and 70 percent effort snapping the technique back. This type of attack
causes the reaction force as well as the attacking force to be dissipated into the
opponent, since the practitioner absorbs little or no reaction force. Generally,
the opponent will not be forced back by the technique, but will rather vibrate
in place as they absorb the shock or will collapse straight downward.
This type of action may be seen if you are sitting in the bathtub and have
your hand placed on the surface of the water. Quickly drop your hand
downward, and there will be a momentary hole in the water where your hand
has pushed through. This hole is analogous to the effect of the snap and
retraction of the attacking limb on soft tissue. Note how the water slaps
together very violently as it refills the hole left behind by your hand.
Due to there being little or no reaction force applied to the attacker, there is
little or no need to reinforce the technique through one’s body. While intra-
abdominal pressure still connects the limb to the floor, there is no need for
strong reinforcement through the body.
Quite often the concept of keage can be mistaken as referring only to
striking techniques: techniques that hit the target at an angle perpendicular to
the long bone of the striking limb. However, thrusting techniques can also be
keage-like. As long as the concept of fast retraction is employed, the same
result will come about.
Kekomi
Gyaku zuki as an example of kekomi. Note how the body needs to reinforce the technique through the
straight driving rear leg.
Kekomi, or thrust, can be seen in the examples of side thrust kick (yoko geri
kekomi) and lunge punch (oi zuki). In these techniques, the attacking limb is
driven and locked into place approximately one fist length into the target for a
few microseconds longer than keage. The attacker absorbs the reaction force
and has a clear body alignment with the floor. For example, in the final
position of oi zuki finishing in forward stance, or zenkutsu dachi, there is a
clear path from the fist, along the straight arm, to the connected shoulder and
back, to the connected hip and rear buttock, to the extended straight leg, and
finally to the heel connected to the floor. This body position is reinforced and
therefore hopefully stronger than the reaction force of the opponent, causing all
force to be transferred to the opponent, and the opposing reaction force from
the opponent to go through the attacker’s body (if in correct alignment), hit the
rooted heel on the floor, and bounce back through the attacker’s body into the
opponent. If there is correct body alignment, the attacker should feel nothing as
the force is transferred; however, if there is poor body alignment, the attacker
will feel the break at the responsible joint, and energy that could otherwise go
into the attacker will be dissipated at that joint. Therefore, it is crucial to have
good reinforcement of the attacking technique and good body alignment.
Penetration and the speed of the technique are important in kekomi. The
attacking limb must be moving at full speed when it penetrates the target. This
obeys the law of F = ma (force = mass × acceleration), which implies that in
order to apply the maximum amount of force to an object, the force-applying
object must be accelerating as much as possible, and then the amount of mass
behind it must be maximized as well. This means keeping the technique as
relaxed as possible, and only when the limb has penetrated the target should
the muscles be locked up for a very brief period of time. This is the concept of
kime, or “perfect finish.” Often, students will not be relaxed, resulting in a
slowing of the technique and reduction of the force applied to the target.
A common mistake is that people often leave the technique extended for too
long in kekomi. So how long should the technique be extended into the target?
The length of time the leg should be extended in keage versus in kekomi
techniques has been best defined by Matthew Pain, PhD, a professor in the
School of Sport, Exercise and Health Sciences at Loughborough University and
fifth dan, Fudochi Karate, UK. He comments, using yoko geri as an example,
that in keage the foot should snap out and back so that your eye is unable to
focus on your toenails. For kekomi, your eye is able to focus on them ever so
briefly before the leg is snapped back. Considering that the eye can typically
focus in 350 milliseconds, the leg is not extended in kekomi for long.
Ate
Using the hips to swing the arm in an uraken uchi, or backfist strike, through the target as an example of
ate.
Ate, or smashing techniques, are literally designed to go through the opponent.
Some examples are morote uke (applied as a strike), mae empi uchi, and
mawashi empi uchi. In these types of techniques, the striking limb is locked in
place, and the rest of the body continues to drive completely through the target.
This could be likened to swinging a baseball bat. These types of techniques
rely on creating a large amount of momentum moving the body weight through a
weak vector or a target (e.g., on a thirty-degree angle in a front stance). Once
again, it is hoped that the generated body momentum will overcome the
reaction force that can be applied back into the attacker.
Using Breath to Control Keage, Kekomi, and Ate
Instructors notice that lower-ranked students tend to lock up at the end of their
technique. In the previous chapter we discussed breath in relation to the perfect
finish, or kime. Here we discuss it in connection to the actual contact with the
opponent.
The sequence of the techniques like keage, kekomi, and ate from execution
to target impact will generally not vary. What will vary is what one does
immediately afterward, and this depends on what effect the attacker wishes to
achieve. General rules, such as the body center moving toward the target,
correct alignment of the body, reinforcement of the body if needed, and
coordination of breath to form intra-abdominal pressure (IAP) and kime, must
all be upheld. However, immediately following the impact phase of the
technique there is variation. As discussed above, a keage technique
immediately and sharply retracts from the target, kekomi very briefly locks in
place, and ate continues to drive through the target. The question, however, is
how this is coordinated.
The answer is through breathing. To allow smooth flow from one technique
to another, the previous technique needs to be immediately relaxed. This is
achieved by immediately inhaling after IAP. As one creates IAP, the
abdominals and diaphragm are compressed downward, resulting in a cessation
of breathing. The quickest way to release this contraction is to immediately
breathe in. Therefore, the ability to execute and transition among keage,
kekomi, and ate is in how this in-breath is performed.
In short, the in-breath must mirror the technique being executed. Once kime
is achieved and the attack has penetrated the target, the force and speed for the
next inhalation must mirror the type of hit. A short, very sharp inhalation
coupled with the correct body motion, in this case a sharp retraction, results in
keage. A slightly longer in-breath results in kekomi, while no stop in theout-
breath (you literally breathe through the opponent), results in ate. Thus, the in-
breath controls the tempo and nature of the technique.
Internal Reaction Force
Use of hikite in balancing out a punching technique.
Internal reaction force refers to the internal feeling of the technique as it is
executed. We have already described correct alignment of the body, so here the
focus will be on hikite, or the forceful retraction of the opposing limb. As we
have stated throughout this chapter, Newton’s third law indicates that for every
forward motion there must be an equal and opposite reactive motion. When
moving the body in techniques such as choku zuki, it can be instructive to use
the opposite limb to “balance out” the technique. This concept is vital for
focusing the body into a single unit at the point of impact. In addition, by
focusing on the retraction, the attacking limb will become more relaxed,
allowing for greater speed of the attacking limb. Eventually (after many years),
the physical hikite can be removed from the technique (within reason), as long
as the feeling is still present. Finally, hikite is involved in many applied
variations in techniques. This can include grabbing and pulling motions.
Conclusion
Reaction force is very important in karate, primarily in terms of how we
interact with our opponent. In short, we endeavor to manipulate our opponent’s
reaction force with methods including keage, kekomi, and ate. Finally, we also
use our own reaction force to ensure correct direction of force into a target.
References
Mitchell, D. Official Karate. London: Stanley Paul, 1986.
Nakayama, M. Best Karate. Tokyo: Kodansha International, 1977.
Nakayama, M. Dynamic Karate: Instruction by the Master. Tokyo: Kodansha International, 1966.
Okazaki, T., and M. V. Stricevic. The Textbook of Modern Karate. New York: Kodansha International,
1984.
Schmeisser, E. Advanced Karate-Do. St. Louis: Focus Publications, 1994.
CHAPTER 19
Is There Equipment That Can Help
Me?
Much of modern karate training can be done simply by refining one’s technique
through careful internal reflection. The only thing required is a karate uniform,
or do-gi. However, there can be great benefit to using equipment in training.
The use of equipment can be vital for developing a method of direct feedback
regarding the execution and delivery of power into a target. To this end,
equipment can be used for two primary purposes: (1) understanding the
internal feeling of the body as a technique impacts an object, and (2)
developing focus and power delivery through correct alignment to a target
outside the body.
While what we discuss here is not an exhaustive list, I intend to focus on
several vital methodologies and apparatus that are in common use in most
modern dojo (1–9). In addition, the benefits of training equipment for
conditioning the body are beyond the scope of this chapter and are discussed
elsewhere in the literature.
Apparatus to Help Develop Internal Feedback
One of the key aspects of all karate training is to develop internal connection
as well as correct body alignment of arms and legs. This is sometimes known
as intra-abdominal pressure (IAP), which we have discussed at length. To
review, IAP occurs when the muscles of the lower abdomen, stomach, and
back flex to create the walls of a box. Next, the karate practitioner breathes in
such a way as to flex the diaphragm down to put pressure on the internal
viscera, which pushes out on the walls of the box to make it solid. It is through
this solid box that karate practitioners can connect their arms to the floor to
generate power. Unfortunately, without feedback in some way—just training by
punching the air, for example—the practitioner may be unable to develop this
kind of body feeling.
Weights and Weight Training
One way to develop this type of feeling is to use light weights (one to five
pounds max) or sai,8 in the hands, on the ankles, or on the trunk, increasing the
weight over time. Or a five- to fifteen-pound weight vest could be employed,
using slow-motion techniques. This extra weight at the end of a lever causes
the internal muscles to flex, and if practitioners pay attention to their body, they
can get a feel for the contractions required by the various movements for
karate. This will also allow the practitioner to become aware of the deep
muscle contractions vital to proper technique. It is paramount that the
practitioner use light weights, as anything too heavy will cause the incorrect
muscles to be used; the weights should just serve as an amplifier for normal
unweighted movement.
Partner
Another incredibly useful piece of training equipment is the partner. A partner
can provide immediate feedback on techniques as they are executed. One
partner-based technique widely used in other types of karate (Goju-ryu and
Uechi-ryu) is shime. This is often employed during the practice of Sanchin
kata, where trainees are slapped and pushed as they contract throughout the
movement. This provides direct feedback on stability as well as on core and
limb connection to that core. In Shotokan, we have only a single kata that can
compare to the isometric heavy feeling of Sanchin. That is the kata Hangetsu.
However, if we modify this type of training to achieve quick execution and
release, characteristic of many Shotokan movements, we can derive benefits.
To do this, the same slapping motions (to the abdomen, back muscles, arms)
can be used at the point of connection to see if the karateka is in fact using the
correct muscles at the correct time.
Obi
The karate obi. A very useful tool in developing karate technique.
One invaluable tool for developing internal feedback is the belt, or obi. It is
important to wear the obi reasonably tight so that the compression of the
abdomen can be felt against the ring of the obi. In normal technique we want
the abdomen to be at 30 percent pressure against the obi; however, during the
impact phase you want 100 percent pressure for that instant.
Impact Training
Impact training is important for understanding internal connection. For this,
two major pad types are used: flexible light pads, such as clappers and hand-
held focus mitts, and solid hard pads, such as body shields, heavy bags,
partners with phone books in their gi, and punching posts, or makiwara. The
latter is important for both internal and external connection and will be
addressed in the next section as well as here.
Use of the makiwara in developing karate technique.
As one strikes a solid target, the target provides force directly back into the
body, proportional to the force applied to the target. The force applied back
can provide invaluable feedback regarding body connection, alignment, the use
of intra-abdominal pressure, and the timing of all these related to the striking of
the target. In order to get the maximum amount of feedback, it is important to hit
a solid target that provides some flex, so as not to damage the body part
striking it. Common apparatus include traditional makiwara, hung punching
bags, and partners holding body shields and focus mitts. If the club does not
have access to any of these items, a phone book placed inside the front of the
karate gi may be used.
When hitting the target, it is important that the practitioner feel the impact
traverse directly through the practitioner’s body to the heel in contact with the
floor. If impact or give is felt in any joint (wrist, elbow, shoulder, lower back,
knee, or ankle), it is an immediate indication that the practitioner does not have
correct body alignment.
Apparatus to Help Develop External Feedback
In addition to understanding how it feels to hit a target, it is also important to
understand how to hit the target. This includes being able to do the calculus for
correct targeting, technique, timing, and distance to the target.
Obi
One very useful piece of apparatus is the obi. The obi can be folded
lengthwise in half, then in half again. One partner can then holdit in one hand
approximately one foot down from the loop end. The folded obi then can
represent a one- to two-inch midline from the top of the head to the bottom of
the torso. The other partner can then kick, strike, and punch one to two inches
into the obi, with good kime.
Impact Apparatus
The use of pads, bags, and punching posts, or makiwara, are also useful for
developing external feedback. It is important to have a percussive shock when
striking the target, as this represents sharp kime. Quite often when striking
targets, it can be easy to get sucked into the idea that a hard push is the same as
a strike. Unfortunately, while feeling strong, a push can use antagonistic
muscles that slow the technique and thus reduce the impact power.
If practitioners find themselves doing this, they need to adjust their distance
back away from the target so that they just strike the surface of the pad. Once
this is achieved, the practitioner may then gradually strike deeper into the pad,
maintaining that feeling up to the distance equivalent to the length of their fist,
approximately two to three inches. If at any point the technique becomes a push
rather than a shock, the process needs to be repeated.
An impact pad is also useful to distinguish keage techniques from kekomi
techniques. When a pad or individual is hit with a keage technique, they should
vibrate and stop dead where they are, while a kekomi technique should knock
the pad or individual back on the same vector the technique is employed along.
Conclusion
While the use of air training is vital for identifying the correct course of
movement, it is important to gain feedback from external sources. This helps
the practitioner discern internal and external feelings within techniques. The
training equipment I have discussed here is widely available and can be very
beneficial to one’s training.
Notes
  1. D. L. Bartelink, “The Role of Abdominal Pressure in Relieving the Pressure on the Lumbar
Intervertebral Discs,” J Bone Joint Surg 39-B (1957): 718–725.
  2. G. Funakoshi, Karate Do Kyohan: Master Text for the Way of the Empty Hand (San Diego:
Neptune Publications, 2005).
  3. H. Kanazawa, S.K.I. Kumite Kyohan (Tokyo: SKI, 1987).
  4. M. Nakayama, Dynamic Karate: Instruction by the Master (Tokyo: Kodansha International, 1966),
308.
  5. T. Okazaki and M. V. Stricevic, The Textbook of Modern Karate (New York: Kodansha
International, 1984).
  6. H. Nishiyama and R. C. Brown, Karate: The Art of “Empty-Hand” Fighting (Boston: Tuttle
Publishing, 1960).
  7. E. Schmeisser, Advanced Karate-Do (St. Louis: Focus Publications, 1994).
  8. P. Urban, The Karate Dojo: Traditions and Tales of a Martial Art (Rutland, VT: Tuttle Publishing,
1967), 145.
  9. G. Yamaguchi, Goju Ryu Karate Do Kyohan (Hamilton, ON: Masters Publication, 1999).
 
CHAPTER 20
Conclusion
This book is dedicated to the correct execution of karate movements. Initial
discussion concerned external techniques of karate. This included weapons of
the body, postures, and techniques such as thrusts, strikes, kicks, blocks, and
unbalancing an opponent. Next, fundamental biology and biomechanics were
addressed and applied to karate. Finally, the subtler internal movements were
examined. In particular, these movements were applied to the execution of
karate and included hip motion, center connection, breathing, how targets are
hit, and the physical apparatus that can help us develop better karate.
One of the major concepts explored throughout this book is the
interrelationship of intra-abdominal pressure, breathing, timing, hip vibration,
and kime. Traditionally, hip vibration was classified, along with body shifting
and hip rotation, as one of the ways to generate power through the movement of
the hips. Given our examination of this concept, I assert that “hip vibration” is
a misleading term, and what it describes arguably does not really exist.
Therefore, I suggest that we replace “hip vibration” with the term “core
compression,” which much more adequately encapsulates the body feeling.
Core compression is achieved via the application of breath and IAP, and can
result in a powerful motion of the hips as the torso compresses. This connects
the arms and legs to the torso for the instant one is in physical contact with an
opponent. In addition, core compression is used in conjunction with all other
hip motions, including all aspects of shifting and rotation. And while core
compression is initiated with the movement, it provides the final connection, or
kime, of the technique.
Examples have been provided throughout this book to illustrate various
concepts that are often not well described elsewhere. Where possible, I have
provided analogies or training methods that help you to understand each
concept. The next step is for you to take these ideas and integrate them into
your own training in order to make progress. If you pay attention to both gross
and micro-level body movement and meticulously correct each part according
to the principles discussed in this book, your body will develop the correct
neuromuscular pathways. Slowly, over time, your karate will improve.
Kanazawa Hirokazu (tenth dan SKIF) has often been identified as the source of
the quote, “Practice does not make perfect; only perfect practice makes
perfect.”
Jodan mae geri, or upper-level front kick.
Central to this entire book has been the four major principles that allow one
to prefect his or her karate movement. These principles—good posture, good
alignment, good body mechanics, and good practical functionality—are all
prerequisites for correct karate movement and must be continuously developed
through training. It is my hope that this book will help you think about these
principles and how to integrate them into your training to aid the development
of your karate technique.
Make your karate practice perfect.
 
ACKNOWLEDGMENTS
J. D. SWANSON
I would first like to thank everyone involved in the writing of this manuscript.
That includes Pat, Rick, Maddie, and Arison for the first proofs. Sensei Robin
Rielly offered careful and insightful comments in later drafts, and Sensei Steve
Ubl provided the finishing touches. I was so much more nervous about giving
this manuscript to the two of you than I was my PhD thesis to my advisors.
Now for making this book what it really is, thanks to Sam Nigro. What
started as a harebrained idea—“I want some pics that show the X, Y, and Z of
karate”—and you came up with this … Wow, just wow. Maddie and Michelle,
thanks for posing with me for some of the pictures.
Thank you to the folks at YMAA, in particular Doran for his editing, T.G.
for keeping me calm, and Barbara for keeping me on point. You all are
awesome!
I would like to thank all of my instructors. Some of you I have known and
trained with for many years, some for short periods, but all of you have helped
me develop both in technique and understanding, inspiring me by walking the
path ahead. In particular, some of you have truly taken me under your wing and
dragged me back to the path. Thank you to Sensei Okazaki, Rielly, Ubl, Sill,
Glucina, Vance, Pain, and Kalmancsi. Also, I would like to thank all of you
who train with me day to day. I still can’t believe you put up with me. I have
seen you grow and develop in ways I never expected. All of you have had a
profound impact on my life, and I am forever grateful.
Finally, I would like to thank my wife for understanding and supporting my
karate obsession all these years. Thanks to my parents for driving me to class
every day when I was young and providing the encouragement I needed, even
when I wanted to give up. This would not exist with out you. Last but not least,
thanks to my little “Mr. Human.” This initial manuscript was written in a rush
before you came into my life and will be published just a few weeks before
your third birthday—and it is to you that I dedicate this first work.
SAM NIGRO
I would like to thank Dr. J. D. Swanson for offering me the opportunityto
illustrate his new work. I would also like to thank him, Gerry Perrino, and
Susannah Strong for their encouragement throughout my academic and artistic
success.
Finally, I would like to thank both of my parents for their unconditional love
and support throughout all of my endeavors.
 
EDITORIAL NOTES
The spelling and pronunciation of certain transliterated Japanese terms vary by
context. Tsuki, for example, is a class of hand techniques. When this term
appears with a modifier describing the technique, tsuki becomes zuki. Oi zuki,
therefore, is a lunge punch.
Keri is the Japanese term for kick. When used with a modifier, keri
becomes geri, which is why a front kick is mae geri. The word geri alone
means diarrhea.
 
Praise for Karate Science
“Dr. Swanson makes a valuable contribution in understanding the how and why behind Shotokan karate
techniques and principles. This book will help every martial artist better understand how the body works
during martial movements, and how to generate strong, fast, and efficient techniques. Karate Science:
Dynamic Movement is a great addition to any martial art library, and a must-read for those who practice
Shotokan karate.”
—Alain Burrese, J.D.; fifth dan, Hapkido; author, Hard-Won Wisdom from the School of Hard
Knocks, Lost Conscience; DVDS: Hapkido Hoshinsul, Hapkido Cane, Streetfighting
Essentials
“Well, as you might expect from an associate professor of biology and biomedical sciences, this book is
heavy on detail; however, because it is so well written, it is clear and concise, so you don’t need to be a
professor to read it. I found myself nodding in agreement on many occasions as I worked my way through
the chapters, in particular [those regarding] the biomechanics involved in the practice and application of
karate techniques. Obviously an accomplished karateka and instructor, Dr. Swanson has managed to
produce a very comprehensive and useful resource to any student or instructor, and I would recommend
its addition to any serious martial artist’s library.”
—Aidan Trimble, eighth dan; chairman and chief instructor to the Federation of Shotokan
Karate; former world karate champion (Tokyo 1983); author, The Advanced Karate
Manual; Karate Kata and Applications, Volumes 1, 2, 3, and 4; Karate for Kids;
Fundamental Karate; DVDs: Applied Karate Series, Volumes 1, 2, and 3
“Professor Swanson’s book, Karate Science: Dynamic Movement, is written in such a way that it’s
easy to comprehend and applicable to all levels of karate practitioner. Instructors and students alike would
benefit from reading this book and incorporating its clearly explained principles into their teachings and
training. I am excited to use Karate Science: Dynamic Movement as the textbook for the karate course I
teach at Temple University, Philadelphia.”
—Hiroyoshi Okazaki, eighth dan; author; chairman and chief instructor of the International
Shotokan Karate Federation
“This is a great book! … This book cuts through the many misunderstandings and myths that surround
Shotokan and gives technical, scientific, undisputable, and easily understood information for karateka of
any level. It will allow readers to take this knowledge of the core principles and get back into the dojo to
get on with the physical training that will help convert academic knowledge into physical intelligence. It is
just what the Western karateka has been looking for.”
—Scott Langley, sixth dan; chief instructor of World Traditional Karate Organisation, Great
Britain and Ireland; author of Karate Stupid and Karate Clever
“This well-informed book demonstrates and explains how to apply the relevance and principles of
biomechanics to a selected physical activity: karate.… I highly recommend all levels of karateka obtain
this publication, as it will help all of us invaluably with our technique and teaching ability. This is a great
read, and I’ve learned great things from it.”
—Mark Willis, recipient, New Zealand Order of Merit; seventh dan; deputy chief instructor,
Traditional Shotokan Karate-Do Federation; New Zealand country representative,
International Shotokan Karate Federation
“I had the pleasure of meeting Dr. J. D. Swanson when he first came to the United States of America
in 1998. It was clear from my first meeting with him that he is an intelligent individual who is passionate
about all aspects of his life, whether it is his academics, family, or karate. It is that same combination of
intelligence and passion that Dr. Swanson brings to Karate Science: Dynamic Movement. If you’re
interested in the sizzle and not the steak, may I suggest you go someplace else. However, if you are
looking for practical and scientifically insightful guidance about Shotokan karate and the superior
executions of its movements, this is a must-read.”
—Carl Shaw, M.Ed, MBE; eighth dan, ISKF
“Karate Science: Dynamic Movement is an outstanding, complete, and detailed work. The author
covers a range of fundamental principles and technical subtleties that are critical to learning,
understanding, and applying karate’s physical principles. This book has something to offer beginner through
advanced practitioners, as well as instructors looking for new ways to develop and coach their students.”
—Edmond Otis, eighth dan; chairman and chief instructor, AJKA-International; author,
Complete Idiot’s Guide to Karate, with Randall Hassell; DVDs: Essential Shotokan video
series
“The book is a concise and valuable source of reference for those wishing to further their study of
karate. Techniques are described not only in terms of the underlying biomechanical principles, but
explained from the performer’s internal perspective. Theoretical explanations are no substitute for
‘discovery through training,’ but this ambitious work is a welcome addition, which serious martial artists
should be happy to add to their bookshelves.”
—David Hooper, PhD; associate editor, Classical Fighting Arts
“J. D. has written an entertaining and insightful book looking at karate from the perspective of a
scientist and has succeeded in the difficult task of making the science approachable. The book has a
refreshing take, as it addresses karate technique in a questioning manner that encourages thought and
contemplation in the reader. By focusing on conveying the feeling of ‘how to’ technique rather than just
the shape of technique, deeper thought and analysis are possible, which have been presented here with
excellent imagery, analogies, and some stimulating mind maps. If you read this book, you should not only
gain a greater understanding of some of the dynamics of karate, but you should gain a greater
understanding of how you can further your own analysis and thus development of karate.”
—Dr. Matthew Pain, reader in biomechanics, School of Sport, Exercise and Health Sciences,
Loughborough University, United Kingdom
“I have always loved the energy and enthusiasm that Dr. Swanson exhibits in everything he does,
including karate. Therefore, I am pleased to see this very technical and educational publication come to
fruition. I especially enjoyed the sections explaining the forces that come into play during stance training
and shifting. The illustrations were also helpful in visualizing how the hips ‘react’ during expansion and
contraction. I assisted Okazaki Shihan and Dr. Stricevic in editing their Textbook of Modern Karate back
in the eighties, and this book provides some different images and ideas that I find refreshing and helpful. I
know I have come away with new teaching ideas after reading Karate Science: Dynamic Movement.”
—Cathy Cline, eighth dan; regional director, ISKF Northwest Region; chief instructor, Western
Washington Shotokan Karate Club; secretary, ISKF Technical Committee
“Swanson’s debut is a scientific guide to the stances, movements, and techniques of karate.
“Swanson, a professor of biology and biomechanics at Salve Regina University, uses his scientific
training to help teachers and students better understand the tenets ofkarate. The many illustrations (ably
provided by Nigro) show everything from proper alignment of a striking surface (say, a fist or a foot) to
how one’s body should move from the beginning to the end of a thrust. The first part of the book focuses
on technique, with sections on stances, thrusting, kicking, striking, and blocking. The guide does more than
demonstrate how positions should look; Swanson takes the time to explain how each should feel and which
muscle groups should be engaged throughout the process. The second part explains the science behind
how our joints and muscles work, as well as how the body keeps its balance. This section also includes a
brief primer on ‘the application of kinesiological principles to karate,’ which outlines ways to get more
force into moves by increasing mass, and, crucially, speed. The last section deals with the notion of
‘internal movement,’ essentially a system of muscle retraction and countermoves that aid in perfecting
efficient and powerful techniques. While many students mistakenly think of this process as simply hip
wiggling, Swanson shows that the process is more focused on intra-abdominal pressure, and he explains
how the proper tensioning and contracting of certain muscles are key to quick and powerful movements.
Swanson’s writing is clear and informative, and his pure love of the art shines through. This book is not for
karate neophytes, and the terms used will be confusing to unfamiliar readers. But for teachers and
students who want to not only perfect techniques, but also understand the biology behind them, the book
will be an invaluable aid.
“An informative guide for those looking to enhance their karate training.”
—Kirkus Reviews
 
INDEX
Abernethy, Iain, 6, 23
acceleration, 130, 142–143, 147–148, 153, 166, 198, 202
age uke, 89, 92, 100–102, 105–106, 108, 127, 185
age zuki, 67
aikido, 9, 111, 113–115, 118–119, 218
alignment, iii, 12–14, 19, 22, 33, 51, 75, 97, 153, 156–158, 170, 197, 201–202, 204–205, 207–208, 210, 215
angular motion, 142
ashi barai, 116
ate, xii, 87–89, 91, 96, 112, 160, 199–200, 203–206
awase zuki, 71
backfist, 20, 89–90, 92, 96, 200, 203
backfist strike, 200, 203
backhand, 25
ball of the foot, 18, 26, 47, 76, 81–82, 84
base of support, 31, 33, 38, 80, 90, 111, 133–136, 142
bear hand, 23
bent wrist, 25
blade of the foot, 27, 75, 79, 81
block, 7, 17, 44, 89–93, 99–109, 125, 156, 158–159, 162, 167, 183, 187–188, 192, 196, 200
body center, 15, 31–32, 48, 50, 54, 56, 58–59, 63, 66, 68, 77, 80–82, 84, 90, 92, 103, 117–118, 127, 131, 136–
137, 145, 150–153, 155–157, 159, 168–170, 173–175, 177–179, 187–188, 194–195, 197–198, 204
body connection, 166, 191, 210
body mechanics, 12–14, 150, 215
body shifting, 171, 173, 175, 179, 213
bottom fist, 20, 170
breath, 82, 88, 159, 167, 191, 195–198, 204–205, 214
bunkai, 6, 12, 23
center of gravity, 31–32, 37, 39, 111, 113–114, 118, 131–136, 142
chicken head wrist, 26
choku zuki, 62, 64, 66–67, 69, 71, 94–97, 107, 125–126, 130, 147, 161, 168–169, 205
chudan, 62–63, 67, 105, 107
contraction, iii, 35, 66, 82, 124, 130, 142, 167, 176, 178, 180, 182, 184, 191–198, 205
curvilinear motion, 142
dachi, xv, 7, 9, 31–37, 39–49, 53–59, 73, 77, 91–92, 96–99, 116–117, 127, 129, 132, 134, 136, 149, 156, 158,
166, 168–170, 174–176, 178–179, 194–195, 201
direct rotation, 89, 91, 93, 97, 185
elbow, xv, 14, 29, 61–64, 66–71, 88–91, 93, 95–105, 108–109, 114, 118, 126–127, 140, 156–157, 159, 183,
185–186, 195, 210
elevation, 92, 151, 170, 173–175, 179
empi, 14, 29, 95–97, 126, 188, 204
empi uchi, 14, 95–97, 188, 204
equilibrium, 118, 131, 133–136
Field, James, xi, xiii, xv, xvi
flexibility, 7, 39–40, 75, 145, 148, 162, 169, 178, 183, 187
focus, 9, 17, 27, 30, 60, 72, 92, 98, 117, 147, 162, 177, 180–182, 197–198, 203, 205–207, 209–210, 212
force, iv, vi, 14, 40, 42, 53, 75, 80, 90, 95, 118, 124, 127, 130, 134–135, 140–143, 148, 157–162, 166–167,
182, 187, 198–202, 204–206, 210
fore-knuckle fist, 22
forearms, 29, 50, 88, 92
fudo dachi, 43–44
fumikiri geri, 83
fumikomi geri, 83
Funakoshi, Gichin, 30, 51, 98, 110, 114–115, 119, 212
gedan, 62–63, 90, 100, 104–109, 115, 127, 156, 170, 182, 185–186, 192–196
gedan barai, 90, 100, 104, 106–109, 115, 127, 156, 170, 182, 185–186, 192–195
gojushiho dai, 25
gyaku hanmi, 33, 79, 185
gyaku mawashi geri, 78
gyaku zuki, 13, 49, 65, 106–107, 115, 152, 186–187, 194, 196, 202
hachiji dachi, 36–37
haishu, 25, 98
haisoku, 27
haito, 25, 92, 94–95
hammerfist strike, 91–92, 107
hangetsu dachi, 37, 45–46, 55, 176
hanmi, 33, 39, 54, 57–59, 65, 67, 70–71, 77–79, 91, 94, 96–99, 103, 105, 108, 127, 149, 177, 183–186, 188
hasami zuki, 71
heel of the foot, 28
heiko dachi, 32, 36, 46, 168–170
heiko zuki, 71
heisoku dachi, 34–35, 58, 132, 134, 174
hiji uchi, 89, 95–97
hikite, 65, 109, 205–206
hip rotation, 92, 156, 171, 181, 183–186, 213
hip vibration, xii, 9, 93, 147, 165–166, 168–169, 175, 213
hiraken, 22–24, 72
hittsui/hiza
hiza geri, 78
Hooper, David, iii, 56
impact, xv, xvii, 13, 18, 40, 64, 66, 75, 77, 81–84, 88, 96–97, 130, 144, 153, 156–157, 159–162, 166, 187,
198, 204–205, 209–211
impulse, 160–161
inside tension, 55, 57–59
instep, 27, 47, 77, 83–84
internal reaction force, 199, 205
intra-abdominal pressure, iv, 126, 130, 157–158, 165, 167–168, 171, 177, 195, 201, 204, 208, 210, 213
inward pressure, 45–46
ippon nukite, 23
ippon-ken, 20–22, 72
jodan, 62–63, 67, 95, 105–107, 214
judo, 9, 111–116, 118–119, 133, 137, 218
jumping, 79, 85, 175, 180
jun zuki, 182
kagi zuki, 69, 156, 161, 170
kaisho uchi, 88, 92
kakuto, 25, 28
kamae, 48–50, 67, 74, 90, 147
kata, i, 6, 11–12, 15, 23, 25, 30, 43, 51, 59, 71, 78, 112, 114–115, 118, 156, 165–166, 174, 183, 209
keage, xii, 27, 75–77, 79–80, 83, 85, 87–88, 90, 128–129, 160, 199–201, 203–206, 211
keito, 26
kekomi, xii, 27, 75–76, 81–85, 87–89, 91, 128–129, 160, 199–206, 211
keri, ix, xi, 9, 12, 31, 53, 73, 99
ki, 11, 198
kiai, 90, 191, 197–198
kiba dachi, xv, 32–33, 36, 41–44, 55, 59, 77, 91, 96–97, 134, 156, 158, 166
kick, ix, 17, 27–28, 74–85, 99, 127, 184, 200–201, 211, 214
kihon, 12, 32, 35, 37, 115
kime, 9, 11, 165, 170, 182, 191, 193, 197–198, 202, 204–205, 211, 213–214
kin geri, 77
kinetic energy, 143–145, 153
kiri geri, 78
kizami zuki, 49, 67, 102, 108, 127, 156, 185
knee, xv, 7, 29, 35, 37–39, 41–42, 44–48, 55, 74, 78–80, 82–85, 114, 117–118, 128, 136, 157, 178, 195, 210
knife hand, 24, 93, 100
knuckles, 18–20, 22, 71, 88–89
kobushi uchi, 88–89
koko, 24
kokutsu dachi, 32–33, 37, 42–44, 55, 158, 176, 179
kosa dachi, 47, 174
koshi, 26, 112
kumade, 23, 25
kumite, 12, 32, 45, 48, 59, 188, 212
kuzushi, xi, 9, 111, 118, 133
levers, 140–142
linear motion, 142
maai, 14, 188
mae geri, ix, 76–78, 81–82, 85, 128–129, 214
mae tobi geri, 79
makiwara, 18, 210–211
mawashi geri, 78, 83–85
mawashi zuki, 68–71, 115, 161
middle finger one knuckle, 21
Mikami Takayuki, 111, 218
mikazuki geri, 77
momentum, 34, 59, 66–67, 130, 142–145, 153, 155, 166–167, 173, 177–178, 180–183, 186, 204
moto dachi, 45, 48–49
muay Thai, 30
musubi dachi, 35
nakadate-ippon-ken, 21
nekoashi dachi, 46, 55, 59
nidan tobi geri, 79
nihon nukite, 24
obi, 77, 209, 211
oi ashi, 173, 175–177
oi zuki, ix, 7, 12–14, 115, 147, 156, 158, 175, 188, 201
Okazaki, Teruyuki, i, iii, xvii, 3–5, 30, 32, 51, 59, 72, 86, 89, 98, 110, 137, 180, 189, 198, 206, 212, 217–218
one-finger spear hand, 23
one-knuckle fist, 20–21
outside tension, 32, 37, 55, 58–59, 176–177
outward pressure, 39, 43–44, 56
ox jaw hand, 26
pad training
palm heel, 18, 22, 72, 92, 95, 126
partner training, 12
posture, xv, 12, 14, 32–34, 36, 40, 48–49, 90, 109, 132, 136–137, 147, 156–158, 215
potential energy
ready-made weapons, 18, 26
relaxation, 123, 145, 147, 191, 193, 198
renoji dachi, 32, 36–37, 48–49, 134
reverse rotation, 90, 93, 151, 170, 185
ridge hand, 25, 94
Rielly, Robin, xi, xiii, xiv, xvii, 30, 60, 98, 218
sagi ashi dachi, 47
sanchin dachi, 46, 55
seiken, 18–22, 71, 88
seiryuto, 26
shifting, iii, xii, 48, 90, 118, 136, 171, 173, 175, 178–179, 183, 187, 213–214
shiko dachi, 36, 44
shime,54, 56, 68, 170, 178, 184, 209
shizen tai, 32, 34
shomen, 33, 39–40, 44, 57–59, 65–66, 71, 77, 91–92, 94–95, 98, 126, 149, 177, 183–184
shuto, 7, 24–26, 91–94, 100–101, 104–105, 108, 158, 182, 185
shuto uke, 7, 93, 100, 104, 108, 158, 182, 185
Sill, Leon, xvii, 33, 217–218
sochin dachi, 43–44
sokusen, 28
sokuto, 27
sole of the foot, 27, 47, 78, 85
soto ni shime, 54
soto ude uke, 89, 91, 93, 100, 102, 108, 115, 125, 182–183, 185, 187
speed, iv, 82–83, 130, 136, 142–148, 150–153, 155, 159, 166, 174, 202, 205
stepping, 13, 35, 49, 58, 65, 96, 116, 147, 155, 173, 175–179, 192–195
strike, 14, 17–18, 20, 24, 26, 29, 65, 68, 70, 72, 88, 91–99, 107, 109, 126, 156, 160, 200, 203, 211
structural alignment, 12–14
tate zuki, 67, 97
teiji dachi, 32, 36–37
teisho, 18, 22, 92, 95
teisoku, 27
tension, 7–8, 32, 37–38, 41–42, 45, 48, 53–59, 63, 147, 176–177, 179–180
tettsui, 20, 89, 91, 107
thrust, iii, 17, 27, 67, 76, 81, 88, 95, 99, 107, 160, 200–201
tiger’s mouth, 24
timing, 12, 14–15, 66, 82, 107, 150–153, 156, 159, 180, 188, 191, 193–194, 197–198, 210, 213
tobi, 79, 83, 180
toes, 8, 27–29, 34–35, 37, 41–42, 44–47, 55, 57–59, 76, 79, 128, 184
translation, 91–92, 96, 99, 114–115, 151, 170, 173–175
two-finger spear hand, 24
Ubl, Steve, xvii, 6, 12, 56, 194, 218
uchi, xi, 9, 14, 31, 36, 53–54, 73, 87–100, 103–108, 113, 115, 126, 182, 185, 188, 200, 203–204
uchi hachiji dachi, 36
uchi ni shime, 54
uchi ude uke, 100, 103–106, 108
ude, 29, 89, 91, 93, 100, 102–106, 108, 114–115, 125, 127, 182–183, 185, 187
uke, xi, 7, 9, 31, 53, 73, 89, 91–93, 99–108, 115, 125, 127, 158, 182–183, 185, 187, 203
ukemi, 117
ura mawashi geri, 84
ura zuki, 69–71
uraken, 20, 89–92, 96–97, 200, 203
uraken uchi, 89–90, 96–97, 200, 203
ushiro geri, 85, 129
velocity, 142–145, 159, 166, 173, 180, 182
weight training, 148, 208
yama zuki, 13, 70–71
yoga, 149, 162
yoko, 27, 33, 75, 79–85, 95–97, 112–113, 128–129, 179, 188, 200–201, 203
yoko geri keage, 27, 79–80, 83, 85, 128–129, 200
yoko geri kekomi, 27, 81–85, 128–129, 201
yoko tobi geri, 83
zenkutsu dachi, 7, 32, 37, 39–47, 49, 54–59, 77, 91–92, 96, 98, 116–117, 127, 129, 134, 136, 149, 158, 175–
176, 178–179, 194–195, 201
tsuki, ix, xi, 9, 12, 31, 53, 61, 65–66, 68, 70–71, 73, 88, 99, 107
Note that tsuki is used by itself, while zuki is used when the word is joined to a name (i.e., tsuki = thrusting
techniques; oi-zuki = stepping punch).
Note that keri is used by itself, while geri is used when the word is joined to a name (i.e., keri = kicking
techniques; mae-geri = front kick).
 
ABOUT THE AUTHOR
Dr. Swanson began his karate training in 1980 in his hometown in New Zealand. There he passed dan
examinations in the SKIF (Kanazawa) faction of Shotokan karate, as well as his dan examinations in
taekwondo (ITF). Upon moving to the United States in 1998, he founded the Pennsylvania State
University Shotokan Karate club, which eventually became one of the largest collegiate clubs in the United
States. He relocated to Arkansas for a five-year period, during which he was asked to serve as the ISKF
Southern Region Director with Mr. Leon Sill for the International Shotokan Karate Federation (ISKF)
after the ISKF/JKA political split in 2007. He moved to New England in 2011.
He has trained continuously from 1980 to the present, and is currently ranked godan in the International
Shotokan Karate Federation (tested by Okazaki Teruyuki and Yaguchi Yutaka). He is a graduate of the
ISKF Kenshusei course, making him an official instructor, examiner, and judge (details can be found at
http://www.iskf.com/information.html). He is the director of the North American Collegiate Karate
Association. He also serves as the instructor for both the Brown University and Salve Regina Shotokan
Karate clubs in Rhode Island.
Dr. Swanson has trained all over the world and for significant periods of time with many senior karate
instructors, including Okazaki Teruyuki, Yaguchi Yutaka, Kanazawa Hirokazu, Mikami Takayuki, James
Field, Robin Rielly, Najib Amin, Cathy Cline, Leon Sill, Okazaki Hiroyoshi, Gary Swain, Steve Ubl, and
Goran Glucina. He has also attended seminars headed by some of the best martial arts instructors in the
world. In addition to predominantly training in Shotokan and taekwondo dojo, he has also trained
periodically with Isshin-ryu, Uechi-ryu, Goju-ryu, judo, aikido, shinkendo, jujitsu, and many other dojo over
his karate career.
 
ABOUT THE ILLUSTRATOR
SAM NIGRO is a medical illustrator who graduated from Salve Regina University with a
bachelor’s degree in visual arts and a minor in biology. She spent her college career utilizing her education
to make visuals of human anatomy and genetic processes. During her junior year, she collaborated with
Dr. J. D. Swanson to help her biological artwork achieve accuracy. Her last year was spent juggling a
senior thesis of artwork depicting cancer development along with illustrating this book. Today she works as
a medical concierge in the emergency department and as a freelance illustrator. She plans to apply to a
graduate program in medical illustration within the next two years.
 
BOOKS FROM YMAA
6 HEALING MOVEMENTS
101 REFLECTIONS ON TAI CHI CHUAN
108 INSIGHTS INTO TAI CHI CHUAN
ADVANCING IN TAE KWON DO
ANALYSIS OF SHAOLIN CHIN NA 2ND ED
ANCIENT CHINESE WEAPONS
THE ART AND SCIENCE OF STAFF FIGHTING
ART OF HOJO UNDO
ARTHRITIS RELIEF, 3D ED.
BACK PAIN RELIEF, 2ND ED.
BAGUAZHANG, 2ND ED.
CARDIO KICKBOXING ELITE
CHIN NA IN GROUND FIGHTING
CHINESE FAST WRESTLING
CHINESE FITNESS
CHINESE TUI NA MASSAGE
CHOJUN
COMPREHENSIVE APPLICATIONS OF SHAOLIN CHIN NA
CONFLICT COMMUNICATION
CROCODILE AND THE CRANE: A NOVEL
CUTTING SEASON: A XENON PEARL MARTIAL ARTS THRILLER
DEFENSIVE TACTICS
DESHI: A CONNOR BURKE MARTIAL ARTS THRILLER
DIRTY GROUND
DR. WU’S HEAD MASSAGE
DUKKHA HUNGRY GHOSTS
DUKKHA REVERB
DUKKHA, THE SUFFERING: AN EYE FOR AN EYE
DUKKHA UNLOADED
ENZAN: THE FAR MOUNTAIN, A CONNOR BURKE MARTIAL ARTS THRILLER
ESSENCE OF SHAOLIN WHITE CRANE
EXPLORING TAI CHI
FACING VIOLENCE
FIGHT BACK
FIGHT LIKE A PHYSICIST
THE FIGHTER’S BODY
FIGHTER’S FACT BOOK
FIGHTER’S FACT BOOK 2
FIGHTING THE PAIN RESISTANT ATTACKER
FIRST DEFENSE
FORCE DECISIONS: A CITIZENS GUIDE
FOX BORROWS THE TIGER’S AWE
INSIDE TAI CHI
KAGE: THE SHADOW, A CONNOR BURKE MARTIAL ARTS THRILLER
KATA AND THE TRANSMISSION OF KNOWLEDGE
KRAV MAGA PROFESSIONAL TACTICS
KRAV MAGA WEAPON DEFENSES
LITTLE BLACK BOOK OF VIOLENCE
LIUHEBAFA FIVE CHARACTER SECRETS
MARTIAL ARTS ATHLETE
MARTIAL ARTS INSTRUCTION
MARTIAL WAY AND ITS VIRTUES
MASK OF THE KING
MEDITATIONS ON VIOLENCE
MERIDIAN QIGONG
MIND/BODY FITNESS
THE MIND INSIDE TAI CHI
THE MIND INSIDE YANG STYLE TAI CHI CHUAN
MUGAI RYU
NATURAL HEALING WITH QIGONG
NORTHERN SHAOLIN SWORD, 2ND ED.
OKINAWA’S COMPLETE KARATE SYSTEM: ISSHIN RYU
POWER BODY
PRINCIPLES OF TRADITIONAL CHINESE MEDICINE
QIGONG FOR HEALTH & MARTIAL ARTS 2ND ED.
QIGONG FOR LIVING
QIGONG FOR TREATING COMMON AILMENTS
QIGONG MASSAGE
QIGONG MEDITATION: EMBRYONIC BREATHING
QIGONG MEDITATION: SMALL CIRCULATION
QIGONG, THE SECRET OF YOUTH: DA MO’S CLASSICS
QUIET TEACHER: A XENON PEARL MARTIAL ARTS THRILLER
RAVEN’S WARRIOR
REDEMPTION
ROOT OF CHINESE QIGONG, 2ND ED.
SCALING FORCE
SENSEI: A CONNOR BURKE MARTIAL ARTS THRILLER
SHIHAN TE: THE BUNKAI OF KATA
SHIN GI TAI: KARATE TRAINING FOR BODY, MIND, AND SPIRIT
SIMPLE CHINESE MEDICINE
SIMPLE QIGONG EXERCISES FOR HEALTH, 3RD ED.
SIMPLIFIED TAI CHI CHUAN, 2ND ED.
SIMPLIFIED TAI CHI FOR BEGINNERS
SOLO TRAINING
SOLO TRAINING 2
SUDDEN DAWN: THE EPIC JOURNEY OF BODHIDHARMA
SUMO FOR MIXED MARTIAL ARTS
SUNRISE TAI CHI
SUNSET TAI CHI
SURVIVING ARMED ASSAULTS
TAE KWON DO: THE KOREAN MARTIAL ART
TAEKWONDO BLACK BELT POOMSAE
TAEKWONDO: A PATH TO EXCELLENCE
TAEKWONDO: ANCIENT WISDOM FOR THE MODERN WARRIOR
TAEKWONDO: DEFENSES AGAINST WEAPONS
TAEKWONDO: SPIRIT AND PRACTICE
TAO OF BIOENERGETICS
TAI CHI BALL QIGONG: FOR HEALTH AND MARTIAL ARTS
TAI CHI BALL WORKOUT FOR BEGINNERS
TAI CHI BOOK
TAI CHI CHIN NA: THE SEIZING ART OF TAI CHI CHUAN, 2ND ED.
TAI CHI CHUAN CLASSICALYANG STYLE, 2ND ED.
TAI CHI CHUAN MARTIAL APPLICATIONS
TAI CHI CHUAN MARTIAL POWER, 3RD ED.
TAI CHI CONNECTIONS
TAI CHI DYNAMICS
TAI CHI QIGONG, 3RD ED.
TAI CHI SECRETS OF THE ANCIENT MASTERS
TAI CHI SECRETS OF THE WU & LI STYLES
TAI CHI SECRETS OF THE WU STYLE
TAI CHI SECRETS OF THE YANG STYLE
TAI CHI SWORD: CLASSICAL YANG STYLE, 2ND ED.
TAI CHI SWORD FOR BEGINNERS
TAI CHI WALKING
TAIJIQUAN THEORY OF DR. YANG, JWING-MING
TENGU: THE MOUNTAIN GOBLIN, A CONNOR BURKE MARTIAL ARTS THRILLER
TIMING IN THE FIGHTING ARTS
TRADITIONAL CHINESE HEALTH SECRETS
TRADITIONAL TAEKWONDO
TRAINING FOR SUDDEN VIOLENCE
WAY OF KATA
WAY OF KENDO AND KENJITSU
WAY OF SANCHIN KATA
WAY TO BLACK BELT
WESTERN HERBS FOR MARTIAL ARTISTS
WILD GOOSE QIGONG
WOMAN’S QIGONG GUIDE
XINGYIQUAN
 
DVDS FROM YMAA
ADVANCED PRACTICAL CHIN NA IN-DEPTH
ANALYSIS OF SHAOLIN CHIN NA
ATTACK THE ATTACK
BAGUAZHANG: EMEI BAGUAZHANG
CHEN STYLE TAIJIQUAN
CHIN NA IN-DEPTH COURSES 1—4
CHIN NA IN-DEPTH COURSES 5—8
CHIN NA IN-DEPTH COURSES 9—12
FACING VIOLENCE: 7 THINGS A MARTIAL ARTIST MUST KNOW
FIVE ANIMAL SPORTS
JOINT LOCKS
KNIFE DEFENSE: TRADITIONAL TECHNIQUES AGAINST A DAGGER
KUNG FU BODY CONDITIONING 1
KUNG FU BODY CONDITIONING 2
KUNG FU FOR KIDS
KUNG FU FOR TEENS
INFIGHTING
LOGIC OF VIOLENCE
MERIDIAN QIGONG
NEIGONG FOR MARTIAL ARTS
NORTHERN SHAOLIN SWORD : SAN CAI JIAN, KUN WU JIAN, QI MEN JIAN
QIGONG MASSAGE
QIGONG FOR HEALING
QIGONG FOR LONGEVITY
QIGONG FOR WOMEN
SABER FUNDAMENTAL TRAINING
SAI TRAINING AND SEQUENCES
SANCHIN KATA: TRADITIONAL TRAINING FOR KARATE POWER
SHAOLIN KUNG FU FUNDAMENTAL TRAINING: COURSES 1 & 2
SHAOLIN LONG FIST KUNG FU: BASIC SEQUENCES
SHAOLIN LONG FIST KUNG FU: INTERMEDIATE SEQUENCES
SHAOLIN LONG FIST KUNG FU: ADVANCED SEQUENCES 1
SHAOLIN LONG FIST KUNG FU: ADVANCED SEQUENCES 2
SHAOLIN SABER: BASIC SEQUENCES
SHAOLIN STAFF: BASIC SEQUENCES
SHAOLIN WHITE CRANE GONG FU BASIC TRAINING: COURSES 1 & 2
SHAOLIN WHITE CRANE GONG FU BASIC TRAINING: COURSES 3 & 4
SHUAI JIAO: KUNG FU WRESTLING
SIMPLE QIGONG EXERCISES FOR ARTHRITIS RELIEF
SIMPLE QIGONG EXERCISES FOR BACK PAIN RELIEF
SIMPLIFIED TAI CHI CHUAN: 24 & 48 POSTURES
SIMPLIFIED TAI CHI FOR BEGINNERS 48
SUNRISE TAI CHI
SUNSET TAI CHI
SWORD: FUNDAMENTAL TRAINING
TAEKWONDO KORYO POOMSAE
TAI CHI BALL QIGONG: COURSES 1 & 2
TAI CHI BALL QIGONG: COURSES 3 & 4
TAI CHI BALL WORKOUT FOR BEGINNERS
TAI CHI CHUAN CLASSICAL YANG STYLE
TAI CHI CONNECTIONS
TAI CHI ENERGY PATTERNS
TAI CHI FIGHTING SET
TAI CHI FIT FLOW
TAI CHI FIT STRENGTH
TAI CHI FOR WOMEN
TAI CHI PUSHING HANDS: COURSES 1 & 2
TAI CHI PUSHING HANDS: COURSES 3 & 4
TAI CHI SWORD: CLASSICAL YANG STYLE
TAI CHI SWORD FOR BEGINNERS
TAI CHI SYMBOL: YIN YANG STICKING HANDS
TAIJI & SHAOLIN STAFF: FUNDAMENTAL TRAINING
TAIJI CHIN NA IN-DEPTH
TAIJI 37 POSTURES MARTIAL APPLICATIONS
TAIJI SABER CLASSICAL YANG STYLE
TAIJI WRESTLING
TRAINING FOR SUDDEN VIOLENCE
UNDERSTANDING QIGONG 1: WHAT IS QI? • HUMAN QI
CIRCULATORY SYSTEM
UNDERSTANDING QIGONG 2: KEY POINTS • QIGONG
BREATHING
UNDERSTANDING QIGONG 3: EMBRYONIC BREATHING
UNDERSTANDING QIGONG 4: FOUR SEASONS QIGONG
UNDERSTANDING QIGONG 5: SMALL CIRCULATION
UNDERSTANDING QIGONG 6: MARTIAL QIGONG
BREATHING
WHITE CRANE HARD & SOFT QIGONG
WUDANG KUNG FU: FUNDAMENTAL TRAINING
WUDANG SWORD
WUDANG TAIJIQUAN
XINGYIQUAN
YANG TAI CHI FOR BEGINNERS
YMAA 25 YEAR ANNIVERSARY DVD
 
1. “Distal” refers to the end of the limb that is far (distal) from the human body. “Proximal” refers to the
end that is near it.
 
2. http://www.iainabernethy.co.uk/content/practical-kata-bunkai-unsu-ippon-nukite-video
 
3. For an excellent reference for each of the throws listed here (with pictures and explanations), I suggest
reading either Klinger-Klingerstorff (1953) or Otaki and Drager (1983)—see references at the end of this
chapter.
 
4. For an excellent description of many of the principles and techniques described in this section, see
Westbrook and Ratti (1970)—see references at the end of this chapter.
 
5. All of these throws are described fully in Funakoshi’s Karate-do Kyohan (2005), translation by Suzuki-
Johnson.
 
6. IAP is described by Norris (1993) as “contraction of the transversus abdominis, and to a lesser degree
the internal and external obliques, will cause an increase in intra-abdominal pressure (IAP), when the
glottis is closed. The muscles will pull on the rectus sheath and so compress the viscera. Compression of
the abdominal contents forces them upward on to the diaphragm and separates the pelvis from the
thoracic cage. The IAP will be greater if the breath is held after a deep inspiration, as the diaphragm is
lower, and the comparative size of the abdominal cavity is reduced. By making the trunk into a more solid
cylinder, axial compression and shear loads are reduced and transmitted over a wider area through the
IAP mechanism.”
 
7. Cup and saucer has one hand in the load position at the hip, while the other arm comes across the body
with the hand sitting so that the bottom fist (tetsui) rests on top of the hand upturned hand on the hip.
 
8. A sai is a traditional weapon used in Okinawan martial arts. It is traditionally a three-pronged metal
truncheon on which all three prongs extend from the handle and point forward. The center prong is
normally longer than the flanking two.
	Title Page
	Copyright
	Contents
	Foreword by Robin Rielly
	Foreword by James Field
	Part I: The Techniques and How to Do Them
	Chapter 1: An Introduction and How to Use This Book
	Introduction
	Differences between Asian and Western Training Methods
	How to Use This Book
	Chapter 2: The Four Fundamental Requirements of Martial Arts
	Good Posture
	Good Structural Alignment
	Good Body Mechanics
	Good Practical Functionality
	Chapter 3: With What and How Do I Make a Hitting Surface?
	Ready-Made Weapons
	Striking Points of the Hand and Wrist
	Seiken
	Uraken
	Tettsui
	Ippon-Ken
	Nakadate-Ippon-Ken
	Hiraken
	Teisho
	Kumade
	Ippon Nukite
	Nihon Nukite
	Koko
	Shuto
	Haishu
	Haito
	Kakuto
	Keito
	Seiryuto
	Striking Points of the Foot
	Koshi
	Sokuto
	Haisoku
	Teisoku
	Kakuto
	Sokusen
	Other Weapons of the Body
	Ude
	Empi
	Hittsui
	Others of Note
	Chapter 4: Stances, the Body Postures of Karate
	Types of Stances
	Natural Stances (Shizen Tai)
	Feet-Together Stances
	Heisoku Dachi
	Musubi Dachi
	Open-Leg and Right-Angle Stances
	Hachiji Dachi
	Heiko Dachi
	Uchi Hachiji Dachi
	Renoji Dachi
	Teiji Dachi
	Fundamental Stances (Kihon Burui)
	Straddle-Leg Stances
	Zenkutsu Dachi
	Kiba Dachi
	Kokutsu Dachi
	Sochin Dachi (Fudo Dachi)
	Shiko Dachi
	Moto Dachi
	Half-Moon Stances
	Hangetsu Dachi
	Sanchin Dachi
	Nekoashi Dachi
	Kosa Dachi
	Sagi Ashi Dachi
	Sparring Stances (Kumite Burui)
	Conclusion
	Chapter 5: The Dynamics of Stances
	Stance Tension
	Shime
	Stance Connection and Foot Tension
	Tension and How It Relates to Dynamic Movement
	Chapter 6: Tsuki: Thrusting Techniques
	Principles of Tsuki
	Types of Tsuki
	One-Handed Tsuki
	Choku Zuki—Straight Punch
	Tate Zuki—Vertical Punch
	Kizami Zuki—Thrust Punch
	Age Zuki—Rising Punch
	Mawashi Zuki—Round Punch
	Kagi Zuki—Hook Punch
	Ura Zuki—Close Punch
	Two-Handed Tsuki
	Yama Zuki—Mountain Punch
	Awase Zuki—U Punch
	Heiko Zuki—Parallel Punch
	Hasami Zuki
	Variations on the Striking Weapon
	Chapter 7: Keri: Kicking Techniques
	Important Points in Kicking
	Types of Kicks
	Front Kicks
	Mae Geri
	Variations on Mae Geri
	Kin Geri
	Mikazuki Geri
	Hiza Geri
	Kiri Geri
	Gyaku Mawashi Geri
	Mae Tobi Geri
	Side Kicks
	Yoko Geri Keage
	Yoko Geri Kekomi
	Fumikomi Geri and Fumikiri Geri
	Yoko Tobi Geri
	Roundhouse Kicks
	Mawashi Geri
	Ura Mawashi Geri
	Back Kicks
	Ushiro Geri
	Conclusion
	Chapter 8: Uchi: Striking Techniques
	Principles of Uchi
	Types of Strikes
	Fist Strikes (Kobushi Uchi)
	Otoshi Uraken Uchi
	Soto Uraken Uchi
	Uchi Kentsui Uchi
	Soto Kentsui Uchi
	Otoshi Kentsui Uchi
	Kentsui Hasami Uchi
	Open-Handed Strikes (Kaisho Uchi)
	Otoshi Shuto Uchi
	Uchi Shuto Uchi
	Soto Shuto Uchi
	Uchi Haito Uchi
	Soto Haito Uchi
	Age Teisho Uchi
	UchiTeisho Uchi
	Elbow Strikes (Hiji Uchi)
	Mae Empi Uchi
	Yoko Empi Uchi
	Tate (Age) Empi Uchi
	Otoshi Empi Uchi
	Yoko Mawashi Empi Uchi
	Conclusion
	Chapter 9: Uke: Blocking Techniques
	Introduction to Uke
	The Five Basic Uke of Karate and Their Mechanics
	Gedan Barai
	Age Uke
	Soto Ude Uke
	Uchi Ude Uke
	Shuto Uke
	The Principle of the Five Uke and Their Relation to Other More “Advanced” Blocks
	Application of Five Basic Blocks Using Gedan Barai as an Example
	Can These Concepts Be Carried Further?
	Chapter 10: Kuzushi: Techniques of Breaking Balance
	Types of Techniques That Break Balance
	Judo
	Aikido
	Karate Throws
	Foot Sweeps
	Mental Balance
	Important Principles (What Have We Learned?)
	Part II: Principles of Karate Techniques
	Chapter 11: How the Body Works: Joints and Muscles
	Muscles and Joints Involved in Moving the Wrist
	Bending and Extending the Elbow
	How Is My Arm Connected to My Trunk?
	Muscles and Joints Involved in Moving the Lower Body
	Flexion of the Ankle
	Extension and Flexion of the Knee
	Connection to the Hip
	Dynamic and Static Contraction
	Chapter 12: How the Body Works: Balance
	Center of Gravity
	Equilibrium, Stability, and Balance
	Other Factors?
	Principles of Stability
	The Link between Stability and Mobility
	Chapter 13: Biomechanics: How Do I Hit Something Hard?
	Body Structure According to Biomechanics
	Action of Muscles, Tendons, Ligaments, and Skeleton
	Motion Types
	Biomechanics and the Great Conundrum of Karate
	How Do I Become Faster?
	Relaxation of Antagonistic Muscles
	Building Fast-Twitch Muscle
	Development of Flexibility
	The Development of the Correct Paths and Timing of Motion
	Correct Recruitment of the Hips and Body Center
	How Do I Develop Mass?
	Being Bigger
	Move the Body Center toward the Target
	Alignment (Mechanics of Stance and Posture)
	Connection of Upper and Lower Body
	Coordination and Timing (Internal vs. External Timing/Breath)
	Other Elements
	Impact Time
	What Angle Do I Use?
	Part III: Internal Movement of Karate
	Chapter 14: If I Jiggle My Hips, Do I Hit Someone Harder? Hip Vibration
	So What Is Hip Vibration in Terms of Body Connection?
	Can Hip Vibration by Itself Generate Power?
	Chapter 15: Hit Them Like a Steam Train: Using Body Shifting to Generate Translational Power
	Types of Translation and Elevation
	Stepping
	Dynamics of Oi Ashi
	Shifting
	Dynamics of Yori Ashi
	Jumping
	Conclusion
	Chapter 16: Rockin’ and Rollin’: Rotation of the Body to Create Power, Coordination of Movement, and Superior Body Position
	Joint Rotation in Terms of Creating Focus
	Hip Rotation for Generating Power in Techniques
	Body Rotation in Terms of Axis and Gaining Better Body Position
	Chapter 17: Breathing: The Key to Coordination
	Relaxation and the Contraction and Expansion of Movement
	Timing
	Breath
	Kiai and Kime
	Conclusion
	Chapter 18: How Do I Hit Things and Not Fall Over? Keage, Kekomi, and Ate
	How Do I Hit Things?
	Keage
	Kekomi
	Ate
	Using Breath to Control Keage, Kekomi, and Ate
	Internal Reaction Force
	Conclusion
	Chapter 19: Is There Equipment That Can Help Me?
	Apparatus to Help Develop Internal Feedback
	Weights and Weight Training
	Partner
	Obi
	Impact Training
	Apparatus to Help Develop External Feedback
	Obi
	Impact Apparatus
	Conclusion
	Chapter 20: Conclusion
	Acknowledgments
	Editorial Notes
	Praise for Karate Science
	Index
	About the Author
	About the Illustrator